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gra-sonas · 4 years

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Hello! Can you recommend me some good songs in German and some tv shows? I started to learn it and i think it will help Danke? I am not sure if that's the right way Please stay safe! Also i came for TW and i think i'll stay for RNM

Hallo German-learning nonnie! :D

Mhmm, good songs in German. 🤔 Let me think.

I would definitely recommend listening to songs from “Neue Deutsche Welle” (New German Wave”). That’s not a band btw, it’s a (West) German rock music genre from the late 70s/early 80s. Sooo many great songs, and great lyrics (which is kind of the point for you, right?)

Maybe you’ve even listened to one? “99 Luftballons” (99 Red Balloons) by Nena is probably the internationally most well known NDW song.

If you have Spotify or Deezer, just search for Neue Deutsche Welle, that should provide you with some excellent playlists. I’m sure YT also has NDW playlists.

I’m not overly familiar with the current German music scene tbh. I don’t listen to the radio and don’t pay attention to German charts.

There are several rock or pop artists and bands singing in German tho. In no particular order and not necessarily music I listen to myself, but at the top of my head I can think of the following artists (mixed genres across the board): Adel Tawil, Wincent Weiss, Annett Louisan, Glasperlenspiel, Silbermond, Herbert Grönemeyer, Die Ärzte, Fettes Brot, Die Fantastischen Vier, Sarah Connor, Mark Forster, Gil Ofarim, Tim Bendzko, Ich + Ich, Die Toten Hosen, Unheilig, and a million others.

Maybe just listen to some of them and see wether you like their music and then let the algorithm suggest you similar artists? Also check the lyrics and see whether that’s what you’ve been looking for and if it can help you to learn German.

Something I think could also be very beneficial: reading books. It doesn’t have to be Goethe (to Germany what Shakespeare is to Great Britain). It can be children’s books, or young adult books, also comics. (FUCK JKTERFROWLING TO HELL AND BACK, but if you liked Harry Potter, the books have been translated into German, pls just don’t buy them and make that transphobic asshole richer, the HP books in German are available as ebooks “for free”).

Reading a familiar story in a foreign language will be easier than trying to read something completely new. Pretty much any YA book series will also be available in German, same goes for comics, romance novels, the Lord of the Rings trilogy, crime stories and so on. My English VASTLY improved by reading books (and fanfic 😌) in case you like to read, that’s something I‘d definitely suggest you also check out.

As for German TV shows. LOL, I watch so little German TV, kinda difficult for me to come up with recs. One show I highly recommend is DARK tho, it’s 3 seasons, all done and wrapped, and it’s on Netflix. It’s a bit like Stranger Things, only in 3-D (it’s super complex with various timelines, but it’s glorious and so, so good!).

If you have Netflix, you could also see whether there are any other German shows available. IDK, Netflix differs from country to country/region to region, there are probably differences.

Oh, and I think on YT you can find several queer storylines from recent and older German soaps with English subtitles. We’ve had queer storylines on most soaps since the 90s, and international fans have been really great at curating playlists. Maybe that’s something you might enjoy.

Something that rather pains me to suggest: just watch your favorite TV show or movie in German. 🤦‍♀️ In Germany EVERYTHING (on TV and in movie theaters) is dubbed. Game of Thrones? Available in German. Wonder Woman? Sure, she speaks German fluently. This won’t help you with 1:1 translations (German dubbing tries its best to lip-sync, meaning that the spoken German is in sync with the lip movements of the original speaker, so dialogue translations are not always 100% accurate, certain jokes or word games will also be changed to make them work in German). A bit like reading a book you like in German, watching a familiar film or show in German can give you a better idea of the “flow” of the language.

Also pronunciation. Shows and movies are usually dubbed in “high German”, so no tricky German accents you’ll struggle to understand. And if possible, download GERMAN subtitles for whatever you watch. You might not understand everything they say, but reading what they say will help you to recognize words much better than watching sth in German with subtitles in your own language and than you’re just busy constantly “translating” instead of paying attention to the German.

Another genre we have in Germany, and German kids (and adults) LOVE: Hörspiele (audio dramas)! Whether you listened to Benjamin Blümchen (a talking elephant who lives at the local zoo), Bibi Blocksberg (a kid witch) as a kid or Die Drei ??? (The Three Investigators, most successful audio drama series world wide, the series recently celebrated its 40th birthday - the speakers started when they were kids in the late 1970s, they are all over 50yrs old now and still record 4-6 dramas/year and their live tours with more than 10K audience/show are legendary) as a young adult, most kids in Germany grow up listening to audio dramas.

Even adults continue to listen to them (I’m a HUGE Drei ??? fan myself, I don’t listen to the dramas to fall asleep tho, unlike most other people, but I went to see them live last year and it was The Absolute Best Thing In All Of 2019). There are so many different genres, and stories, there are audio dramas for almost any age group (and thus language skill level), and it’s really cool.

Okay, this got long. Not sure if any of this will be helpful for you, but I hope you’ll find something you’ll enjoy, that will also help you tackling the German language. Good luck and “viel Spaß”!

You stay safe, too, nonnie!

And yay for staying for RNM, chances are you won’t regret it! ❤️

ETA: German movie rec from @manesalex : Lola Rennt (Thanks, Molly!)

#nonnie asks #german things #my native language is a thing of beauty

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a-student-out-of-time · 4 years

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//Some random Void headcanons because why not?

Hajime

He’s absolutely the mom-friend of the group and usually the one keeping them in line, ranging from making sure they all stay healthy to not killing each other

He likes to show off his strength regularly, whether it’s challenging people to arm-wrestling or lifting up benches full of people

He’s ambidextrous

Always cries at movies with dogs

Once ate an entire jar of peanut butter and still hasn’t forgiven himself for it

Emma

She’s 1/3rd Japanese, 1/3rd Scottish, and 1/3rd German, and she grew up in London. Needless to say, people get a little confused.

She’s supported dozens of charities for autism, vaccine research, flood and famine relief, and victims of domestic abuse.

Can play kazoo pretty well.

Her filmography includes 18 movies, 13 TV shows, 5 video games, and 1 audio drama. At this point, she’s very familiar with a lot of tropes.

Fur coats are comfort objects for her. When not wearing one, she’ll often sleep on it or use it as a blanket

Iroha

Since she wasn’t allowed manga growing up, she now has a collection of it that the others gave her.

She’s surprisingly good at card games, such as Yu-Gi-Oh and Magic: the Gathering. None of the others have managed to beat her.

She snorts when she laughs hard enough.

She loves ice cream. Can’t choose any favorite flavors, she just loves it in general.

She’s decorated the walls of Void’s warehouse with murals

Nikei

He’s a big fan of the comic Transmetropolitan

Occasionally has nightmares involving Carpal Tunnel

Definitely eats way too much salty food

Only he is allowed to make fun of Iroha. Anyone else does it, he’ll rain hell down on them.

Interviews and info gathering matter more to him than sleep

#mod talks #a student out of time #headcannons #hajime makunouchi #emma magorobi #iroha nijiue #nikei yomiuri #sdra2 #super danganronpa another 2

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fiercestpurpose · 4 years

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Marvel and DC comics are usually clear about whether or not a story takes place in canon; Star Trek draws a clear line between the canonical TV shows/movies and everything else; for Star Wars, both the Legends and Disney canons are well-defined bodies of work.

Doctor Who is like “We’ve got the original TV show, the revival, TV spin offs, animated content, dozens of different audio drama series, comics, short stories, novels, etc. etc. and we’re not going to tell you anything about what’s canon and what’s not!!” It’s a pretty uniquely messy approach, and I appreciate it.

#m.txt #dw blogging #doctor who #I'm not trying to argue that Doctor Who canon is messier than Star Wars or whatever #because I am well acquainted with the canonical issues of all the things I cited thanks #but this is something special about Doctor Who #and it means that fans have to approach canon differently

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scifinal · 4 years

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DW s12e10: It's Quite Unfortunate That This Child Keeps On Regenerating

It's only fitting that the first post on a blog called "SciFinal" should be about a season finale.

Not that fitting is the fact that in said post I'm going to begin where it all started for me.

Part One: How I Even Got into This Mess of a Show in the First Place

While I call myself a huge Doctor Who fan, even a – *gasp* – Whovian, I must admit I am not as familiar with the franchise as I would like to be; I've seen the new show, I've seen Torchwood (though, admittedly, I had to force myself to finish the fourth season – but that's a story for another day), I've listened to a handful of audio dramas (including Kaldor City, which I consider to be canon for both DW and Blake's 7) – mostly Torchwood audio dramas, but who cares, – I've read a couple of comics, I've got a novel or two somewhere on my bookshelf, I've seen the first couple of seasons of the classic show, but that's about it. I can't say I grew up with it – it wasn't on TV when I was a kid, there isn't an official Ukrainian dub, et cetera, et cetera. I first heard about it when I was about thirteen, when my classmate did a project about something they liked – and was pretty dismissive of my peers' hobbies at the time, believing myself to be somewhat above them, so I didn't pay much attention.

Then somebody finally pressured me into watching it (I believe I was fifteen or something back then) and I loved it. The first two episodes of the first season, I mean. I watched those, texted my friend something like "consider me a Whovian now!" and abandoned the show completely only to return to it maybe several years later.

I loved it. This time, for real.

Doctor Who has been with me ever since that time, it has a big soft spot reserved for each and every Doctor ever in my heart, and for each and every companion. I know full well it's cheesy, and it's stupid, and it's technobabble-y, and it's glorious in all of its cheesy technobabble-y stupidity.

And I hate this finale.

Part Two: Doctor, Why

I hate this finale – because I hate Chris Chibnall. Mind you, not the gentleman himself (I don't even know what he looks like, and I can't be bothered to Google), I hate what he did to Doctor Who.

Now, when it was revealed that the would replace Steven Moffat I felt... nothing. What did you expect? I had no idea who the man was. I know now he's made Broadchurch, and I know he wrote a bunch of stuff for Torchwood back in the day, including Cyberwoman. I had to drop Broadchurch because of how well-handled the depressing atmosphere was, and I love the flawed, dumb, sexy-cyber-bikinied, almost-fifteen-minutes-of-Ianto's-whining-including (I know because some time ago I literally cut almost every single moment of Gareth David-Lloyd whimpering, moaning, groaning, screaming, and mugging at the camera out of the episode and made those bits and pieces into a beautiful clip show called "I HATE THIS" to explain exactly why his face was and still is so punchable) mindless fun that is Cyberwoman (this is also one of the two episodes in which they actually do something fun with the pterodactyl living inside Torchwood's underground base). The latter also led to the creation of one amazing in how it develops Ianto's character audio drama entitled "Broken". I love Broken. I am now forcing you to look at its cover because of how much I love it.

Here we go. Now, back to the point of me rambling pointlessly

In his video "Sherlock Is Garbage, and Here's Why", a well-known YouTuber hbomberguy pointed out how Steven Moffat's problem is that he is more than capable of writing a good one-off episodes, but ultimately fails at managing multiple complex, overarching stories, as visible when you look at the difference between Moffat's individual episodes and his run on the show.

Now, I believe that Chris Chibnall suffers from the same affliction: he's a good screenwriter but a terrible, terrible showrunner. Sure, he's made Broadchurch, but Broadchurch, in its essence, was a complete singular story with a beginning, a middle, and an end. There were no bigger, incomplete arcs expanding at the expense of other episodes, and the show did exactly what it was originally designed to do: it told an uninterrupted story.

Here comes Chris Chibnall's run on Doctor Who.

Now, while Steven Moffat was ultimately not very good at managing overarching stories, he tried to do so nonetheless, and the fans seemed to like his attempts. And while I can't be sure as to whether it was Chris' original vision for the show or he and his co-writers were merely trying to emulate Moffat, he attempted the same. A friend of mine has even pointed out how, to her, it was painfully obvious how the writers of the finale were desperately trying to copy Moffat's style (to give you some context, she grasped it from a 30-second clip of the CyberMasters' reveal, and that clip basically consisted of me filming my laptop's screen and laughing at their design, making the video wobbly and the audio distorted). At the time of writing this post this friend hasn't seen a single episode of Chibnall's era and, as far as I know, has no wish to do so – mainly because of two reasons that both have something to do with the finale:

Somebody's already spoiled it for her, so who cares;

I ranted to her about how shit this finale is and now she hates everything about Chibnall era.

I am very sorry for the latter, since I genuinely believe there are some nice episodes in these seasons, and I especially like the "historical" ones, they really are quite a lot of fun, I like Nikola Tesla and Thomas Edison fighting badly CG-ed alien scorpions, I love Lord Byron and Mary Shelley running around a haunted house trying to escape from a Cyberman (even though it's all too similar to the Agatha Christie episode from Russel T Davies' run), I adore that episode about Rosa P–– oh, wait, no, that one was crap and ripped off Blake's 7... Anyway, I love Jodie Whittaker's Doctor, I am a big fan of Graham, I like Ryan just fine, and I can put up with Yaz, even though it's been two seasons and I've still got no idea what's her personality supposed to be, and I absolutely love the new Master (he reminds me of a cute little pug with a big Tommy gun). There is plenty of good stuff in these two seasons, they are lots of fun to watch, but this finale... Oh god, this finale.

Part Three: We Had All of Time and Space at Our Fingertips and We Ended Up with This

We are getting to the point of this whole thing. I would love to begin with the obvious, the twist, but there's so much wrong with this who-cares-how-many-parter than this one big thing.

It is inept. It is impotent. It is incompetent. It is bad at almost everything except its okay camera work, somewhat good (for a British TV show, I mean) effects, and its really solid performances.

Its editing is tone-deaf to the extreme. There is a moment in the final episode where Ko Sharmas asks who will be the first to cross the Boundary and step into the unknown, and immediately it cuts to Yaz walking towards it, all fast and silent. I would love to show you a clip of it, but I don't have one and I can't force myself to download the episode and sit through this shitshow again just to present you with a ten-second clip. Nonetheless, that part is not edited like a dramatic moment. You edit comedies this way. Bad comedies. Bad editors edit bad comedies this way.

Its plot is incoherent. There are several plot threads in this finale, and they're managed in a way that doesn't make the viewer care about all of them at the same time, rather the viewer goes "oh, I've completely forgotten this was happening" and then, before they can even begin to care, the show cuts to something else. It's all over the place and oh so annoying.

The plot armour is painfully obvious despite every attempt to disguise it. There wasn't a single, solitary second when I believed the Doctor was really going to sacrifice herself and, lo and behold, here comes the old guy ex machina to do it for her. The only questions I was asking at that moment were "How are the writers going to prevent the Doctor's death now that they've seemingly created themselves a way to go on forever?" and "How can Whittaker care so much about her performance in this scene she's literally almost crying?". I wholeheartedly related to the Master asking "So why are we still here?" and shout–– hiss–– mumbl–– whatever-ing "Come on, come on, come on!" – at that point I've suffered through at least forty-five minutes of utter nonsense, people going preachy, religious Cybermen with Dalek motivations, that absolutely ludicrous scene in the previous episode when the show was trying its worst to make me perceive autonomous flying Cyber-heads with laser eyes as a serious threat, a shit twist and... Oh.

I've got to finally touch on the shit twist, haven't I?

It doesn't make sense. No, I mean it. I guess it makes sense from the show's writers' standpoint to retcon everything in a way that would allow them to go on forever without having to come up with a way to circumvent limited regenerations, yes. And I won't be touching upon all the lore people say this twist has ruined. No. It doesn't make sense as it is.

The twist is revealed to us by a madman that claims to have hacked into a database, claims to possess control over the Doctor's mind, and gives the Doctor and the audience no actual solid proof that the Timeless Child is, indeed, the Doctor. We have Ruth, sure, and she's nice enough (damn, I want that vest), and she's a Timelord that happens to own a TARDIS that looks like a blue police telephone box, and she calls herself the Doctor. Here's Ruth:

I really like Ruth. She also makes no sense from the show's timeline standpoint, since the Doctor's Type 40 TARDIS only got stuck looking like a police box in 1963, so there's no reason for the Doctor to not remember being her.

We also know that the Judoon have identified Ruth as "the Fugitive"... except in one of their previous appearances in the show they weren't able to identify their targets exactly and thus were seeking out non-humans. There is a possibility that they were only looking for a Time Lord on Earth.

You know what? It's possible that Ruth is actually the Master messing with the Doctor. I have just as much proof of this as I have of the fact that the Doctor is some kind of an endlessly regenerating superbeing.

But this is not the most maddening thing here. I loathe it, but I don't loathe the twist itself: I loathe its lifelessness, I loathe how empty, how unemotional, almost robotic it feels. When somebody'd spoiled the finale for me, I got angry, and I started asking questions, and when later I saw the actual thing...

This gif. I can't even explain how accurate it is. I stood there, in the middle of my kitchen, episode paused, holding a cup of cold tea and desperately looking around as if in my surroundings I could somehow find that emotional reaction that this show failed to evoke. I was ready to burst into tears of how empty it felt, and how empty I felt, and how the same show that has Christopher Eccleston go from literally foaming at the mouth with pure hatred to shocked silence in a matter of second because of one sentence that you, a viewer, can't help but be astonished by failed to make me feel the tiniest speck of literally any emotion. And slowly, I felt that vast void in my chest fill with sheer, pure, flaming hatred for the person who made me feel nothing, for the story that left me not bored – but empty.

And the next moment, in its own unique way of being absolutely tone-deaf, the show introduces the CyberMasters, looking ridiculous, being asinine in concept, making me burst into laughter with their dumb design. Wow.

So.

Chris Chibnall's Doctor Who is no longer a show. Chris Chibnall's Doctor Who isn't even, as somebody on Stardust said, a fan fiction. It's a rollercoaster. A lackluster rollercoaster that lifts you from the vast caverns of frozen hell, devoid of any life whatsoever, soulless and abandoned, to the heavenly torture of being so bad, so utterly awful and ridiculous, that you can't help but laugh as you watch something you used to love be distorted and deformed to the point where you can't recognise it anymore nor really care. This is what Chris Chibnall's Doctor Who has become. And I'm going to continue my ride on that grotesque rollercoaster. I'm going to pirate that ride and get on it again. Because I'm a masochist. Because I want to feel something, even if it's hatred towards those that make me feel nothing.

Because some time ago my fifteen-year-old self watched the first season and learned a lesson that I hold dear after all these years – that I can't abandon hope, and that someday, somehow, things are going to get better. That the future is being written right now. That the future can change.

#doctor who #thirteenth doctor #doctor who review #i hate this #review #sci fi

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accio-spaceman · 5 years

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VORTEX Magazine - Issue 87

May 2016)

Download for FREE on the Big Finish website

Time For Ten

Kenny Smith goes behind the scenes on Big Finish’s most high-profile release yet.

[Above: David Tennant. Text reads Time For Ten - Kenny Smith goes behind the scenes on Big Finish’s most high-profile release yet.]

Let’s be honest – we’ve all been wanting David Tennant to play the Doctor for Big Finish since, well, the first day he got the job. Newspapers at the time of his casting as the Tenth Doctor made mention of the fact he’d already worked on the Doctor Who audios alongside Colin Baker and Sylvester McCoy.

(Full Article Under Cut)

Of course, Big Finish have wanted him to return to the part and bring the Tenth Doctor back to life on audio.

And executive producer Nicholas Briggs – a friend of David’s for years – reveals the man himself has been just as keen as everyone else to get back into the studio with Big Finish.

Nick says: “David and I had a conversation about his doing Big Finish long, long before we got a licence to do plays based in his era. He actually, light-heartedly, encouraged me to go out and get the licence. At one stage, Michael Stevens and I had plans for Big Finish and Audiogo to do a coproduction of audio drama featuring the Tenth Doctor. But David’s schedule and Audiogo’s demise meant that plan didn’t materialise. But when we finally got the licence, I did chat to David on the phone. He eventually came up with the idea of a special, three-CD release.”

Line producer David Richardson adds: “The pitch for the Big Finish/ AudioGO co-production still exists – although none of the stories made it into this collection. The plan back then was to have episodes with a running theme, one that would climax with a big reveal and the return of a character from the Tenth Doctor era – but when we came to do this set of the Doctor and Donna stories, it was felt that it was best to go down the route of individual, unconnected episodes.”

But we’re getting ahead of ourselves a little.

This month sees the eagerly anticipated return of David, alongside Catherine Tate as everyone’s favourite temp from Chiswick, Donna Noble.

However, the process of getting them back together hasn’t been an easy one.

Big Finish executive producer and company chairman Jason Haigh-Ellery says: “We’ve had a lot of support in getting series based around the New Legacy Doctors. When the time was right, the BBC gave us the rights and helped us to get these productions up and running as soon as possible.

“We’re really pleased to have got David and Catherine back together.

“I first did Big Finish with Sylvester McCoy and Sophie Aldred many years ago, certainly before Doctor Who was as central a part of my life as it has become since.”

– David Tennant

“Someone said to me, ‘Why did you announce John Hurt and David Tennant just a few weeks apart?’ The thing is, it took about two weeks to sort John out and get him into studio. With David and Catherine, it took a year – and you don’t want to announce anything until you have it recorded.

“It wasn’t in any way planned to announce them as closely together as we did, it just took us a year to sort out dates when we could get David and Catherine in studio together again.

“It was very important to both of them that they were there, acting together, so they could get that old feeling going again.

“A lot of people have said that David and Catherine’s relationship on-screen was some of the best stuff in 21st century Doctor Who, as a favourite combination of Doctor and companion. Seeing them work together, you can tell it’s obvious the two of them love working together and enjoy it.

“It was well worth waiting a year for, to have them together.”

Nick continues: “Once the BBC accepted the proposal, David Richardson and script editor Matt Fitton started working on story ideas, and kept me informed all along the way. It looked like we might get David and Catherine into studio fairly imminently then, so the scripts were worked on quite quickly. Then, when they were ready and tentative studio bookings made, David and Catherine – very busy people! – suddenly became unavailable. So we had to wait quite a while. So it’s true to say those scripts were then waiting for the final bookings to be made. So that’s why, when the information was leaked on the internet, we couldn’t comment, because we weren’t one hundred per cent sure it was actually going to happen. We had everything crossed!

David Richardson adds: “We certainly began story lining back in the summer of 2014, and the scripts were all signed off by May 2015. So they sat on the shelf for several months before we were able to get David and Catherine together in October.”

[Above David Tennant and Catherine Tate.]

When it was revealed in October last year that David Tennant was to play the Doctor for Big Finish, it marked his return to the Moat Studios after an absence of a decade.

Speaking to producer David Richardson, David Tennant recalls: “I first did Big Finish with Sylvester McCoy and Sophie Aldred many years ago, certainly before Doctor Who was as central a part of my life as it has become since.

“I was always keen to come and play. I did a few different characters, one with Colin Baker, one with David Warner and some Dalek stuff with Nick Briggs. It was always something I really enjoyed.

“It was a lovely little job when it came along, so it’s nice to return to that because doing audio stuff is always really good fun.

“There’s an immediacy to it – you turn up and haven’t learned the lines – you prepare a little but basically you are flying by the seat of your pants, to a certain extent, and if you have got lots of good actors who inspire you and make it good fun, it’s really not a bad way to spend a day.

“It’s quite tiring and it’s quite intensive because you do a story in a day, faster than you work on Radio 4, but there’s such an energy to this stuff, you can’t help but be barrelled along by it. It took about two weeks to do a show on TV!”

Jason Haigh-Ellery was particularly delighted to welcome David back into the Big Finish family.

He says: “You know what, it didn’t feel like David had been away for a decade. That’s just unbelievable. When David came back it felt he’d only been away for a year or so, it really didn’t feel like it had been 10 years.

“As ever, David was lovely to everybody, and he slotted right back in. “David has an amazing memory and he remembers everyone’s name. He just walked in and went around, saying hello to everybody. He was wonderful.

“It’s great having him back, and I hope we will do more with him.”

Being back as the Doctor has been a joy for David, but he admits it was a bit of a worry to start with.

He says: “It’s been really good fun. I was a bit nervous about whether I would slip into it with ease, or would it be a bit of a stretch, but it really felt like returning to a comfy pair of trousers, rather than a scratchy vest.

“It’s all quite high energy, the character, but once you key into it, it always makes sense.

“That was always the key to it, it was very tiring to do, but they’ve also been invigorating. It has its own momentum, I think.

“I’d always used the script as my springboard, really, from what Russell T Davies and the other writers wrote and that’s what I’ve continued to do here. You take what’s on the page and use it as your starting point.

“If you come at a character like this with pre-conceived notions, that you might play him like this or that, the danger is you can be fighting the actual story and the script – the whole thing has got to evolve as one piece.”

David was particularly pleased to be reunited with Catherine Tate – with whom he has also worked on Comic Relief, Much Ado About Nothing and Never Mind The Buzzcocks and the recent Shakespeare Live – as they have a firm established friendship.

He says: “I think Catherine and I always got on, right from the moment she came to do the tiny bit at the end of Doomsday. She came down and shot the cliffhanger for series two. It took all of half-an-hour and from that moment, we got on – and always have done. That’s something we can hopefully bring to the characters.

“We’ve worked together in various places and in various ways and it’s something we enjoy doing. It’s just always nice to see her and it’s nice to play.”

“I think Catherine and I always got on, right from the moment she came to do the tiny bit at the end of Doomsday.”

– David Tennant

For the Big Finish production team, there was a huge sense of relief when they finally got their leading man and woman into studio after months of planning.

Nick says: “There was a great sense of occasion. And it was wonderful to hear David and Catherine working together. I actually thought Catherine’s performance was slightly different to her performance on TV. She seemed far more restrained than I expected her to be.

“But she’s a very shrewd actress, and she knew just how to pitch it when acting so close to a microphone.

“The camaraderie existed the moment people arrived at the studio, that people were familiar with each other.”

– David Richardson

[Above Left to right: Beth Chalmers, Blake Ritson, Alice Krige, and Alan Cox]

“I think what she’s done for us is rather beautiful and often very moving in all sorts of unexpected ways.

“I’ve run out of words to describe how brilliant David is. He’s a lovely chap. Very easygoing and fun to work with and… well, he just delivers! It’s such a joy to behold.”

David Richardson adds: “In the months running up to the recording, I’d got myself in a terrible state of stress. “It was clear every step of the way how momentous these episodes would be, and I felt the pressure that they had to be as good as they possibly could be, and that David and Catherine should have as great a time as they possibly could recording it.

“Of course, I needn’t have worried. For two huge, international stars they are very laid back and approachable people. It was lovely to sit and chat with David in the green room, and to hear him say he had bought our Blake’s 7 audios and enjoyed them!

“Nick let me cast all the plays, and I was very careful to hire people that we knew were accomplished actors and fun to be around, but also to have some people who David and Catherine would know and feel comfortable working with. So it was great to have Niky Wardley, who was one of the mainstays of The Catherine Tate Show. Alex Lowe and Alan Cox knew both David and Catherine. Dan Starkey had worked with them on the TV series… It meant the cameraderie existed the moment people arrived at the studio, that people were familiar with each other.

“Oh, and I cast Alice Krige because she really is one of my favourite actors, and one of my favourite people to be with at the studio. I’ve worked with Alice three times now, and we just sit and have the most extraordinary conversations about life. She’s wonderful.”

The pair found there to be so many highlights over the three studio days.

Nick pauses, before saying: “There are so many. But I think my personal highlight was when Catherine found so many poignant moments in Death and The Queen. I had, rather unfairly, pigeon-holed it as pure knockabout comedy. But Catherine saw past that and at one point brought a tear to my eye.”

David admits: “The moment I’ll always remember is recording the very first scene. David and Catherine threw themselves into it like they’d never been away. I was in the control room, and Matt Fitton was sitting on the sofa and we just turned to each other and grinned the biggest grins… I love all three scripts – Technophobia is just right for a Tenth Doctor opening story. Time Reaver is wildly imaginative but also quite personal and dramatic too. And Death and the Queen is bonkers and touching and brilliant.”

David Tennant adds: “I think the three scripts, like the TV show, are very individual in themselves.

“They are very different types of stories and they each had quite unique concepts to them, whether it’s the tone or the entire story.

“The first one is a much more recognisable world, with the conceit of it. You expect it to be one type of story but it’s another. It’s very clever. I think the third is quite an unusual world. Like the TV show at its best, they are fun, new ways of telling the same type of stories.”

[Above Cover for “Technophobia” by Matt Fitton, featuring a banner that reads “BBC Doctor Who - David Tennant and Catherine Tate in Technophobia by Matt Fitton, featuring Rachael Stirling and Niky Wardley”, and a photo of David Tennant. Background features the Big Finish logo, text that reads “Brand New Adventures - Full Cast Audio Drama” and photos of mobile phones, a Koggnossenti (the story’s antagonists), Catherine Tate, and David Tennant.]

Technophobia is very much a story in the mould of a Doctor Who television episode from the Russell T Davies era.

Set in the present day, it features a menace from an area where people wouldn’t expect it to come.

David Tennant says: “What I love about the first story is it’s quite a recognisable, traditional Doctor Who set-up, where it would seem that the machines are taking over – and that’s the kind of thing we’ve seen before – and there’s a brilliant twist.

“It’s a wonderful and rather chilling idea. It’s not an idea I’ve come across in Doctor Who before.”

Joining the cast is Niky Wardley playing Bex. Niky is no stranger to Big Finish, after appearing as the Eighth Doctor’s companion Tamsin Drew.

She tells Vortex: “What a treat to work with Catherine and David on Big Finish. David Richardson had asked me to be in it but I had no idea who else was in it until I saw the cast list a few days before so it was the best surprise!

“I was lucky enough to be recording with them on their first day, so to see them walk into their booths and then voice the Doctor and Donna again, after such a hiatus, was incredible.

“They bounced back to life straight away such is their amazing chemistry. David’s energy as the Doctor is so affecting, he sweeps you along with him and Catherine’s genius with comedy makes it just the perfect partnership. It was thrilling to be a part of it.”

[Above Cover for “Time Reaver” by Jenny T Colgan, featuring a banner that reads “BBC Doctor Who - David Tennant and Catherine Tate in Time Reaver by Jenny T Colgan, featuring Sabrina Bartlett, Terry Molloy, and Dan Starkey”, and a photo of David Tennant. Background features the Big Finish logo, text that reads “Brand New Adventures - Full Cast Audio Drama” and photos of lasers, the story’s antagonist, Gully, Catherine Tate, and David Tennant.]

[Above Left to right: John Banks, Dan Starkey, Alex Lowe, Sabrina Bartlett, and Terry Malloy.]

Time Reaver takes the Doctor and Donna back out into space.

David Tennant enjoyed the story, saying: “It’s nice to have a big, proper sci-fi story on a big alien world, but as with the other stories we’ve done, we kind of think it’s going to be one type of story, about gun runners or this terrible weapon that’s going to destroy everything, and actually it’s even more interesting than that.

“It’s about a civilisation that doesn’t quite operate on the same moral framework as everyone else and how that can be confused when they move out into the stars, and there’s some lovely character stuff going on there as well.”

In the guest cast is Dan Starkey, playing Dorn. These days he’s best known to Doctor Who fans as Strax from the Paternoster Gang, alongside the Eleventh and Twelfth Doctors, but he was delighted to work with the leading pair – for a very nostalgic reason.

He reveals: “It was a great day. David and Catherine were there at the very start of my ‘professional’ Doctor Who career, when I joined them in series four for The Sontaran Stratagem and The Poison Sky, so it was nice to come back to them again, now Big Finish are doing new series Who.

“Most actors enjoy radio because it’s just good fun. We get the work done, and we can have a laugh with it. It’s always good being in the green room at the Moat then having a great lunch – and with David and Catherine around, it was great fun. You can tell they really get on.

“I very much enjoyed that period of the show, with the Tenth Doctor and Donna. It’s very strange now, thinking back to how much time has passed since then.

“I loved the way the Doctor and Donna were just great mates, going around, solving problems, and at that point, it felt like Doctor Who was really back and had taken over television. It was a great time to be involved in it and get on the bandwagon!

“Not having to sit in the make-up chair for three hours is something I always appreciate!

“It’s a great script by Jenny Colgan, that really captures that breathless rush that was there in the series four stories. You can really picture the bright colours, and there’s lots of pathos as well. It’s got that tension, which is really familiar as well.”

Another guest star in Time Reaver is another man who has spent most of his TV Doctor Who career behind a mask. Terry Molloy plays Rone in this story, but is best remembered for playing Davros against Peter Davison, Colin Baker and Sylvester McCoy’s Time Lords.

Terry recalls: “It was lovely to be at the microphone with David again, as we had previously worked together back in the 90s on a radio version of Edward Bond’s play The Sea. In Time Reaver, the studio fizzed with the energy and pace he always brings to the Doctor, and of course the interplay between him and Catherine Tate was fast, furious and very funny!”

“It was a great day. David and Catherine were there at the very start of my ‘Professional’ Doctor Who career.”

– Dan Starkey

[Above Cover for “Death and the Queen” by James Goss, featuring a banner that reads “BBC Doctor Who - David Tennant and Catherine Tate in Death And The Queen by James Goss, featuring Alice Krige, Alan Cox, and Blake Ritson”, and a photo of David Tennant. Background features the Big Finish logo, text that reads “Brand New Adventures - Full Cast Audio Drama” and photos of strom clouds, a skull wearing a black hood, Catherine Tate, and David Tennant.]

Rounding off this first trilogy is Death and the Queen.

David Tennant was delighted with the script: “Death and the Queen is kind of like a twisted fairytale. It’s got some slightly deconstructed elements which make it the most broadly funny, the most broadly comic, of the three. That always works for the Doctor and Donna as a pairing.

“It also goes to some quite dark, quite unusual places and you also get to see Donna at her best. She struggles with finally getting her fairytale wedding, and nothing quite works out as she would imagine.”

Joining the guest cast is Beth Chalmers as Hortense.

She grins: “I’ve now worked with every single one of the Big Finish Doctors – I’ve worked with the others to a greater or lesser degree over the years, and in the last year, I’ve now added John Hurt and David Tennant – which is pretty cool.

“It was a bit cloak and dagger being in this one, as I was only told about it a couple of weeks before we went into the studio. I think I was doing one of the John Hurt episodes, when David Richardson asked me what I had coming up, and I asked him, ‘Why?’ He told me it was something they were keeping very, very quiet and told me it was these two, David and Catherine.

“Catherine Tate is a real treat to work with, but David Tennant is just so classy – he’s amazing. It’s fantastic to work with great actors and he’s such a brilliant guy too. I’ve worked with his wife Georgia before and you hear such lovely things about him from other people who have worked with him – and it’s all true. David’s got a kind of left-field, zany madness to him – he’s brilliant.

“I was really thrilled and knew there weren’t that many being made, so it was amazing to be one of the few actors to be asked.”

Beth found herself having to work hard on her character. “This story is a bit like a period drama, with a medieval castle. I did most of my scenes with Catherine Tate, who was speaking in her modern way with her modern rhythms, but I had to use a period voice. It’s hard to keep that going when she’s being funny, quippy, cool and modern, while I had to stick with the medieval voice.

“But when you compare the two voices, it makes her even more funny.

“It was a great story to do – it was fun, and almost cartoony, but I don’t mean that in any way to sound disrespectful.

“There weren’t too many vortexes and galaxies to worry about, so I could understand it!

“I also loved working with Blake Ritson – I was bowled over when I heard him doing his stuff.

“It was a great day, and it felt really special in the studio. I’m really looking forward to hearing how it all sounds in the finished version.”

Responsible for the music and sound design on the trio of tales is Howard Carter.

Having worked on the War Doctor box sets, The Diary of River Song and UNIT, he’s loving the chance to get the Tenth Doctor onto his CV.

When first asked to work on this series, Howard admits he was: “Very excited! I’ve been working on the new series releases for the past seven months and knew these were coming up so it’s great to finally get stuck in. I read all of the scripts in one sitting and was thrilled at how brilliant they were and how much scope there was for me to be creative with the sound design and the music.”

How did he approach the plays – did he try to evoke Murray Gold’s style, as well as doing his own?

Howard explains: “With the Big Finish audios I’ve always felt that we should be moving the world of Doctor Who forward rather than creating pastiches of what’s been before. While it’s important to retain a certain level of stylistic familiarity I was keen to make sure the musical language was fresh and not too restricted by Murray’s style. His sound has been so integral to the characterisation and general atmosphere of the show that it would be foolish to ignore, but at the same time I feel the plays are best served by taking a step forward.

“As such, I wanted to create a score that wouldn’t sound out of place in the world that people are familiar with, while letting my own influences and style filter through. The music is still very thematic with certain motifs running through the boxset, but my main aim was to write scores that best serve these plays and the overall atmosphere of the set.”

He adds: “It’s a great privilege to be working on these stories. The scripts are so fantastic it’s both humbling and exciting to be bringing them to life knowing that so many people will get the chance to hear the Doctor and Donna back together. I can only hope people have as much fun listening to them as much as I’ve had working on them.”

The final element that really seals the deal for these audios are the covers, which have been created by Tom Webster.

As with the rest of the Big Finish team, Tom was delighted to be working on these releases.

He adds: “I was so excited to work with the David and Catherine images. I think the moment where I started to cut the images out was where it really hit me, the Tenth Doctor and Donna in Big Finish. Amazing!

“I found it quite easy to create a feel for the era on the special deluxe edition, I set out to emulate the style of the series box sets and particularly the vanilla DVDs. I wanted to go with very bright, vibrant colours and the most dynamic photos that I could use.

“I decided from an early stage that I wanted to play with a TARDIS interior motif - so I created something inspired by the coral structures, which provided a nice framework. The vanilla covers were lots of fun, as I was tasked with making each one distinctly different. Technophobia really feels like a Russell T Davies episode one, so I really wanted to go for a bright and brash impactful image.

“I’m actually extremely happy with them all, I spent lots of time getting them just the way I’d imagined when reading the scripts. I’m so grateful for the opportunity to be doing such huge releases for Big Finish and I didn’t want to let anyone down. I hope people enjoy them!”

Since the Big Finish Tenth Doctor audios were first announced, they have received plenty of coverage in the media, from publications as diverse as Jenny Colgan’s local newspaper the Ayrshire Post, to national papers like the Daily Mirror, whilst they’ve also had numerous mentions on TV, including a big plug on The Jonathan Ross Show on ITV.

David Richardson says: “We knew the reaction was going to be huge. And it was probably bigger than that! So it was brilliant, and such a relief to have the secret out there having kept it to ourselves for so long. We’d had a year of whispering in locked rooms and sending coded emails – and suddenly all the world knew!”

Nick adds: “Can I just say too how delighted I was? It was one of those things. We’d been living with these plays for so long. It seemed almost surreal that we were actually doing them. And when our listeners and other Doctor Who fans loved the idea too… It was simply amazing.”

Jason was particularly pleased that Big Finish received so many mentions when David was doing the media rounds to promote his Netflix series Jessica Jones.

He laughs: “I feel like sending the publicist for Jessica Jones a bunch of roses!

“They did a great job to get David on a lot of programmes to talk about Jessica Jones, and we kind of hijacked their promotional tour!

“Of all the things we’ve done over the years, that definitely got us the most media attention.

“David, I’m sure, knows how much he was loved as Doctor Who. If he ever had any doubts, I think going round and doing publicity for Jessica Jones, where everyone asked him about doing the Big Finish audios, has shown how much people are still interested in him and love him as the Doctor.”

– VORTEX Magazine, Issue 87, Pages 6-15

[Above Cover of “The Tenth Doctor Adventures: Volume 1″. Text reads: “David Tennant - Catherine Tate BBC Doctor Who The Tenth Doctor Adventures Three Full Cast Audio Adventures Technophobia - Time Reaver - Death And The Queen” Background features the Big Finish logo, Catherine Tate, David Tennant, the TARDIS, Time Reaver’s antagonist, Gully, a black hooded figure, and a castle.]

The Tenth Doctor Adventures: Volume 01

Technophobia

London’s Technology Museum faces a revolution. Is it all down to simple human stupidity, or is something more sinister going on?

Time Reaver

An illegal weapon is loose on the streets of spaceport planet Calibris - and the Vacintians are closing in…

Death and the Queen

The Wedding of all Weddings comes under attack by a skeleton army. Can Queen Donna save her people from Death itself?

Written By: Matt Fitton, Jenny T Colgan, James Goss

Directed By: Nicholas Briggs

Cast: David Tennant (The Doctor), Catherine Tate (Donna Noble), Niky Wardley (Bex), Rachael Stirling (Jill Meadows), Chook Sibtain (Brian), Rory Keenan (Kevin), Jot Davies (Lukas), Alex Lowe (Soren), Sabrina Bartlett (Cora), Terry Molloy (Rone), John Banks (Gully), Dan Starkey (Dorn), Blake Ritson (Rudolph), Alice Krige (Queen Mum), Beth Chalmers (Hortense), Alan Cox (Death)

Available as deluxe five-disc box set, limited edition of 5,000, and as individual vanilla releases.

For full details visit www.bigfinish.com .

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avaantares · 6 years

Note

So uh, I’m really really disappointed with the Torchwood fandom right now (over what you addresses in your post about being respectful/a normal human being online), and I’m just not quite sure how to deal with that. Sorry to barge in with this, but you seem like a really understanding, level-headed person 😅

I feel you, Anon, and you are certainly not the only one I’ve heard from! A number of people have told me they’ve been growing more uncomfortable with the fandom’s atmosphere lately, and have been actively avoiding posting about certain topics for fear of dogpiling. (This actually came up in a few private conversations before I made the post you referenced, and helped cement my decision to speak up.)

This post is long, so here’s a dash-saver. Below the jump I talk about the state of the Torchwood fandom, how people can avoid and resolve drama on their own posts, and some things everyone can do to make the internet a nicer place.

While my recent post was not targeted solely at the Torchwood fandom (the “how dare you differ in opinion from me” trend is disturbingly widespread; see also: politics), it is true that there has been a lot of sectionalism and polarization in that fandom lately. Fandom niches have always existed, but as the Torchwood fandom shrinks – whether due to natural attrition, lack of interest in the new content, or whatever reason – the Venn circles for each area of interest also shrink, making each group appear more segregated, and resulting in less crossover and less generalized Torchwood fandom.

Now, specific interest groups within the fandom are not a bad thing! They occur naturally, since not everyone engages with fandom the same way. Some people listen to the new Big Finish releases, while others have only seen the original series. Some people enjoy trading headcanons, while others aren’t interested. Some people create fanart or fanfiction, while others just reblog gifsets. Some people are only in the fandom for one specific character, and that’s okay! We’re all fans of the same source material; we can all share and respect each other’s unique interests!

The problems arise when we stop doing that, when interest groups become isolationist (i.e. ”we’re the only real fans”), or when one group decides their focus/interest is more important than another group’s or individual’s. If any group begins policing or calling out other fans who don’t share their views, that’s a problem. If fans are afraid to share their opinion on a topic because of the threat of harassment or name-calling from other fans, that’s a problem. If we can no longer politely discuss our respective viewpoints or agree to disagree, that’s a problem. If we all start blocking each other because we can’t get over the fact that Person A loves Gwen Cooper and Person B doesn’t, or Person C ships Person D’s NoTP, or Person E headcanons a character as a particular sexuality/alignment/whatever and Person F has a different headcanon, there will be no fandom left because everyone who loves Torchwood will be on another fan’s block list.

“But wait!” Person A cries. “[Opinion I hold] is really important to me, and is relevant to my personal identity! By disagreeing with me, Person B is being disrespectful to my identity!”

Sorry, but no. Certainly, Person A is allowed their opinion, and that opinion may well be informed by their personal identity or beliefs. But Person B is also allowed an opinion, which may also be informed by their identity or beliefs. Person A’s personal opinion is no more or less valid than Person B’s. It’s not about B being disrespectful to A by voicing an alternate opinion; it’s about both A and B showing mutual respect by acknowledging that the other person has an opinion.

Of course, just because you’re fully entitled to state an opinion doesn’t mean you are correct, or that you have license to say anything you want free of consequence. Any time you put your opinion out there, you are opening yourself up to disagreement or rebuttal.

“So how can I avoid people aggressively disagreeing with me?” Person A asks. “I hate reading dissenting viewpoints, especially on my own posts.”

Well, you have two options. Option 1 is for those who honestly can’t handle any level of conflict or disagreement, and that’s not to post your opinion at all.

“That’s no fun!” says Person A. “I like to share my opinions.”

Well, that brings us to Option 2: Set the tone of your posts. See, here’s the thing: If you post your opinion in an agonistic manner, you’re more likely to elicit agonistic response. Here’s an example of two different post tones:

A’s Post: I went outside today and looked up, and the sky looked blue to me, so I think the actual color of the sky must be blue.

This is a clear statement of opinion, phrased with supporting rationale, but it’s focused on the person who holds that opinion, rather than targeting or disparaging someone who subscribes to a different one. A dissenter might counter with this:

B’s Response: I’ve always thought the sky looked white. Those puffy spots up there are definitely white, so I think that’s the real color of the sky.

It’s relatively polite, with no offensive personal remarks, and (again) it’s focused on why they personally believe what they do. It is likely that this sort of rational discussion could continue for many exchanges without becoming heated or aggressive. Maybe one will convince the other, or maybe they’ll stick to their own beliefs and agree to disagree, but nobody’s getting hurt and nobody’s getting blocked.

Now, compare that to this type of post:

A’s Post: OMG I hate when those white-sky idiots say the sky is white, they must all be MORONS because it’s clearly BLUE and if you don’t agree you’d best unfollow me NOW because i don’t want you anywhere near my posts. This is a BLUE SKY ONLY BLOG.

This person has already personally attacked anyone with a different view, drawn a line in the sand, and declared that this is the hill they will die on – all without supporting their opinion with a shred of evidence or reason. Naturally, this will only serve to inflame the other side:

B’s Response: HOW DARE YOU CALL ME A MORON, I’ll have you know I have a Master’s Degree in Cloud Watching and I wrote my thesis on why the sky is white. Only uneducated idiots think the sky is blue. BLOCKED.

Yeah, this exchange is never going to result in any kind of rational discussion. It is already 100% emotional, and there is no actual discussing going on, just name-calling. Getting involved in this kind of argument is a waste of time and energy, will not change anyone’s mind, and will only succeed in stressing out all parties.

“But the sky really IS blue!” Person A protests. “It doesn’t matter what tone I take, I’m still right!”

Nah, in this case both sides are wrong. The sky’s apparent color depends on the angle of the sun’s rays, humidity, and the way light in the visible spectrum is scattered by air molecules. It looks blue when the sun is high, and red or orange when the sun is near the horizon, but the sky itself is colorless. (There’s your science fact for the day). Ultimately, it doesn’t matter how right OP thinks they are; chances are the other person is just as convinced that they’re right, and it’s entirely possible that you’re fighting over something completely arbitrary or fundamentally unimportant.

And that brings me back to the Torchwood fandom and the hill-I-will-die-on arguments that have been plaguing it more and more in recent months. There is one thing I think we can ALL agree on, no matter our individual interests, and that is that Torchwood’s canon is a hot buttered mess. The original TV series is internally inconsistent; the novels contradict both the TV series and other novels; the comics contradict themselves, the novels, and the TV series; Miracle Day contradicts EVERYTHING that came before, including parent series Doctor Who; and the Big Finish dramas try really hard to respect all the prior releases, and mostly just end up creating their own canon, because it’s utterly impossible to reconcile everything. If canon can’t even agree on relatively simple things like

whether or not Jack can get drunk (no: BBC novels / yes: also BBC novels)

whether or not Jack can sleep/dream (no: TV and BBC novels / yes: also TV and BBC novels, plus BBC audio dramas)

if Jack and Ianto went on a date after KKBB (yes: BBC novels / no: also BBC novels)

what year Owen was born (1980: TV and Torchwood Magazine / 1981: TV and BBC novels)

what Ianto’s sister’s last name is (Evans: The Torchwood Archives / Davies: CoE)

…there are bound to be contradictory fan views on more complex issues, and there may not be a clear “correct” or “incorrect” position. It is possible to find canon support for nearly any Torchwood headcanon, because Torchwood canon is consistently inconsistent. Don’t make every issue a hard line in the sand. Accept that people are different, and based on their own unique backgrounds and experiences, people can legitimately come to different conclusions when presented with the same canon evidence (or lack thereof).

(Hmm… it’s almost like this principle could also apply to real-life sources of conflict like politics, religion, and social and cultural norms. Maybe keeping an open mind is a good idea in general…?)

“Well, it’s MY blog, and I can say what I want,” says Person A. “If people don’t like it that’s their problem.”

That is absolutely true. But remember, whatever you put out there is likely going to come right back at you. If you go with a rude or aggressive stance, or if you make personal attacks, you should expect your replies/reblogs to be just as nasty. If you escalate, so will they.

“Okay, so what if I post something polite and someone STILL comes back with a nasty response?” Person A asks. “I’m honestly feeling so attacked right now, and it isn’t even my fault!”

There are a couple of solutions to this that don’t involve breaking out the napalm:

Check for a misunderstanding. It’s hard to interpret tone in plain text sometimes. If you think the person may have honestly misinterpreted your post, maintain the polite tone and either clarify your post, or ask them (nicely) to explain why they are so upset about what you posted. Look for resolution, rather than merely refuting their post.

Don’t respond. “Be the bigger person” may sound cliche, but believe it or not, the world will not end if you choose not to engage someone on the internet. There is great power in putting down the phone or stepping away from the keyboard, and it’s much better for your blood pressure and stress level. Plus, if that person keeps raging on posts and not getting any responses, it may make them wonder why nobody pays attention to their opinions. Speaking of which…

“YOO-HOO!” hollers Person Z from waaaaaaay over in the corner. “Hi there! I just came for the fanart, and I’d like to participate more, but I’m really stressed out by the way this fandom is arguing all around me. I’m worried that if I post anything, someone will yell at me and tell me I’m wrong. That would really upset me.”

So let’s talk positive reinforcement for a second! This is where the casual observers and innocent bystanders can have a lot of power to steer the direction that fandom grows. Ultimately, the goal of all social media is to elicit interaction, whether that’s in the form of Likes, Reblogs, Replies, Retweets, Shares, Follows, or what have you. Giving posts this kind of interaction is like praising the writer. Reblogging also makes that post visible to more people, potentially attracting them to your fandom circle. Posts with more notes get seen more, read more, and can set the tone for other fandom interactions. The more rational, polite posts get spread around and accumulate notes, the more rational, polite people will be likely to get involved, and the more likely a new post on that topic will be worded in a rational, polite way. Whereas interacting with argumentative, nasty, stressful posts will tend to make new people avoid your fandom, and will encourage more people to turn things into a drama-fest because that’s what gets the notes, and notes are currency.

So when you see a post that just looks like a slap-fight or upsets you in some way, just ignore it and keep right on scrolling. You don’t need to attract drama to yourself or your blog, and you don’t need to feed that machine. But if you see someone doing it right, or if there’s an ongoing polite discussion, consider getting involved in the conversation! You can comment, reblog, reply or just like if you don’t have anything to add. Pay the polite, thoughtful interactions in notes and let the harsh posts die an unreblogged death.

So, dear Anon, that’s a very long-winded expansion on my previous post, and one you didn’t exactly ask for. :) But you’re not alone; many of us want to initiate change for the better. I hope we can help the fandom return to the happier, more collaborative place it was not so long ago.

Be kind to each other, be respectful, let go of whatever is driving you to have the last word, and we’ll all have more fun and significantly lower blood pressure.

#torchwood #fandom #social media #social interaction #stress management #guidelines for discussions #slapfights on the internet #long post #anonymous

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theradioghost · 6 years

Note

Ok so I do agree with you that some audio dramas are way better off being audio dramas (I wouldnt want to see any visual adaptations of horror shows bc imo horror works best as an audio form). However, I do have my own personal wish to see certain things turned into animated shows or features like EOS 10 or startripper!! Not everything has to be big budget live action and shows that have lots of aliens and spaceships would lend better to animation. But that's coming from a wanna be animator :,^O

That is ABSOLUTELY true (my god Startripper!! is the Saturday morning cartoon series of my dreams) and it was absolutely remiss of me to forget it. If it’s fairer, I think my perspective comes down more to a question of the visual/nonvisual – ultimately, definitive visual representation is definitive visual representation, and while animation and live action/cgi can obviously create incredibly different representations and have different strengths, and I think animation is actually better suited to the kind of abstractions that I find are hard to translate out of audio (or text!) – I think that there are things other than horror that are better when they’re nonvisual, when they don’t have to be literally interpreted. Those things maybe would do very well adapted as books for example, which can maintain a similar nonvisual abstraction and stylistic experimentation (IE the WTNV books, which manage to capture the same style without needing to be in the radio show format or to involve weird noises and whatnot). There are also plenty of things that would be just as fun if they were a cartoon or a movie or a TV show or a comic book or any number of other things! Things that I wouldn’t be interested in if they were adapted into audio, because their visuals are vital to the core enjoyment of the thing!

But like, again, whether something can be adapted well is a totally different question than the problem I had in the first place – the idea of creating a property in a medium that you feel is inferior and worthless outside of its cheapness to produce, ignoring the worth and skill and potential of that medium, in the hopes of selling that property to be made in a Real Legitimate Medium. I don’t mind things getting adapted, even if I personally have no desire to see that adaptation!!! I just mind when people who are prominent in the community like to talk about how our art form, the art form of audio, is most valuable as a way to get OUT of making audio! Gross! No thank you please!

Putting this in the body of the post this time bc people can’t read tags apparently but Please Do Not Reblog

#adamhochberg #asks #my posts #stories and media tag #talks about audio drama

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davidanderson7162 · 3 years

Text

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- Enjoying an animation when you're ill in bed is a splendidly recovery workout. Bear in mind those times when, as a kid you did specifically that?

- Researches show that viewing cartoons decreases the threat of stress relevant conditions in adults. A good laugh releases endorphins in the brain. These endorphins make us really feel far better emotionally and also literally as well as are the very best de-stressor that cash can't buy.

- Individuals like these find they connect better to children and also have a far better understanding of them.

- Of course, this is an excellent way to pass the time as it maintains individuals out of mischief. The still mind, as they claim, is the devil's workshop!

Over the years cartoons have advanced from one dimensional characters on the screen and paper to a 3 dimensional one. Modern technology has actually made cartoon personalities lifelike. Both adults as well as youngsters associate with the storyline Children TV Online.

Anime Vs Cartoons: What's the Difference?

In the "Anime" neighborhood, for the majority of fans as well as fans, "Anime" is "Anime and also "Cartoons" are "Cartoons". For them both of the important things are really various from each other.

To start with, lots of people get perplexed in between an Anime and also an Anime, even if both are computer animated that doesn't suggest that they both are very same. There are so many distinctions in Anime and Cartoons. While both are caricatures that may be animated, anime normally has visually distinct attributes for personalities. So, right here I will certainly now discuss the difference in between these two. Anime are Japanese computer animated production, that are available in different layouts like, tv collection such as dragon round z, Naruto, one item and so on, computer animated short movies, as well as unabridged flicks. But cartoons are two-dimensional detailed visual art, non-realistic or semi-realistic illustrations.

Anime personalities have unique face and also physical functions that are extremely comparable to reality, their big eyes and also little mouth are developed due to cuteness. On the other hand, animes physical attributes are really far from truth than anime. Anime characters likewise show various sort of appreciable facial expressions whereas animes don't.

Animes are usually made to make people laugh, so the category primarily is funny. However there are also many cartoons that are academic, instructing something great to mainly young children and also youngsters in an enjoyable, interactive means. As an example, mickey computer mouse, Donald duck, pests bunny and so on

. Unlike animes, anime does not stick to only one or two genres. Anime shows as well as motion pictures are all based upon some kind of story which proceeds with the whole collection, for example, bleach, one item, Naruto, and so on. Anime is based upon real-life problems or something that are closer to human feelings and have many more styles than cartoons such as, drama, school life, piece of life, love, action, and so on

. Yet if you take a look at both of them as separate entities, or as very same, you won't be able to discover a clear difference in between both, which is why a lot of the people get perplexed in between both and wind up calling anime and animations are same Kids TV Online.

The very first cartoon was said to be created in 1499. It showed the pope, divine Roman emperor, and the king of France and England playing the video game of cards. However, Japanese animation began in the very early 20's, when Japanese filmmakers were try out different methods. By 1930s, as a choice to the real-time action sector, computer animation was developed.

As anime are two-dimensional figures attracted and also used in computer animations, as caricatures in newspapers, and also publications. If we were to specify what Anime is after that the basic suggestion of some of the usual and set notions would be "Japanese, animation, dazzling styles, and also hand-drawn" would be predominant buzzwords.

Today, Anime just seems to refer "animations just from Japan" to make it more reasonable for individuals. Besides this is human nature to like the things which are conveniently easy to understand and also conveniently classified.

To make the distinction clearer, allow's take the example of the tom and also jerry as well as dragon sphere z. So, you might assume what's the difference between the two when they both are computer animated and have good visuals, histories, audio effects as well as even the animated drawings behave. But, there are numerous distinctions in them which separate them from anime to cartoon. Like, their ideas are completely different, as you understand every episode of tom as well as Jerry is different and also is not connected to any of the previous episode or continuing some kind of tale from a point but in dragon ball z every episode is associated with the previous one, as well as continue the story from where it dropped in the previous episode. As well as their styles are various also, as tom as well as Jerry is purely based on a pet cat as well as mouse fight and made to make individuals laugh as well as their watch time enjoyable. On the various other hand, dragon ball z is sort of a journey of a saiyan to conserve the Planet and also the universe from several risks, he fights for saving every person, with the assistance of his family, close friends and also fellow saiyans. Dragon sphere z is can be classified in several genres, like activity, experience, comedy, incredibly power, etc

. One more point in which some people might distinctive anime and also anime would be that animes are for youngsters whereas reach of anime can be encompassed several other age and also other locations Children TELEVISION Online.

But what I believe is, cartoons are not simply kids material, because as we can see in the newspapers, and on tv also, there are several animations having and targeting lots of political, spiritual views. A lot of these messages are hidden as well as indistinguishable for children, to ensure that adults can take pleasure in watching them with youngsters. Whereas a few of the anime consists of high grown-up content and also thus are not secure or great for youngsters to enjoy. Those sort of anime are made totally focusing on grown-up target market. However there are likewise some anime series which are definitely risk-free to watch with kids. But nowadays, even typical anime's might have some scenes which are not expected to be watched by kids.

So, I assume, where animations are risk-free for youngsters to watch, anime shouldn't be thought about safe enough for them. However regardless of just how old you get, you can still enjoy it as it is.

I really feel that, anime has deeper thought in them, well created characters, wide story-line, a strong theme, sensible history animation, the real world scenarios, dialogues, expressions, etc. all of these points bound us together to view all the episodes (whether there are 12 or 24 or more than a numerous episodes) of the anime series. Whereas on the various other hand, animations, regardless of whether they are narrating or simply going for funny, have shallow personalities and styles.

Cartooning for Children: 3 Books That Can Aid You Get Started

Many children I know love to draw at some point. A few of them like it a lot, they take place to produce computer game, comics, animes, and graphic novels. If you are seeking some exceptional books on cartooning for kids, right here are 3 that can assist you begin.

One of the outright best total intros is Big Book of Cartooning by Bruce Strike. He starred in a public television program for many years, and I was able as a young adult to gain from his strategies.

Guide covers everything from basic cartooning skills, like combining various facial forms, features, and hairstyles, to make different characters. It also shows how to draw bodies and also include motion to them so they are amusing and also vibrant, and not just standing still.

He does a wonderful job of introducing cartoon results and devices. Those are the kinds of things that make cartoons enjoyable as well as bring them to life, like the wavy lines coming out of a piece of pizza, to reveal that it smells great. Or the lines on a pool of water or a mirror, to show they are reflective. And one of the most enjoyable of all, those little grains of sweat or activity lines, like when somebody has simply tossed a sphere Children TV Online.

There is also a great deal of reference on just how to produce cartoons, including just how to lay them out, invent jokes, and also do your text. For kids that wish to try their hand at superhero-type comics, he covers various ways to make your guy go from thick to magnificent, from no to hero. Likewise included are numerous poses you may use, like training, removing, flying, as well as boxing.

This all-inclusive job additionally has a section on cartoon portrait or caricature. In this way you can attract amusing pictures of on your own, buddies, family, and also instructors, as well as give those away as gifts. You might also wind up offering your job!

One more outstanding overview is Whatever You Ever Before Needed To Know about Cartooning however Were Afraid to Attract. The author is a Disney-trained musician, so it's a best reference if you like that design. Yet it also covers whatever from expressions as well as attracting activity presents, to cartoon design.

One certain section I such as is just how to draw your animations from various cam angles, like way down low. This way, if you are attempting to draw something from the perspective of a really small personality, like a mouse seeking out at an individual, you can obtain a great amusing seek to your job.

Art for Children: Cartooning: The Only Cartooning Book You'll Ever before Need to Be the Musician You have actually Constantly Wished to Be encourages kids to experiment with various methods to get their own styles. The style hangs as well as open, so it's very easy for children to comply with. There is likewise details on writing jokes as well as creating panels Children TV Online.

So if you want cartooning for children, these three books to aid you begin are excellent. You will certainly have three completely different designs to research, and also you will have lots of ideas on attracting fundamentals, plus details on exactly how to place everything with each other into your own animation productions. Happy cartooning!

8 Unforgettable Youngsters' Cartoon Adaptations to Movie

When a well liked youngsters's TELEVISION series makes the shift from the little to the silver screen it typically spells a break from tradition as well as an effort to appeal to an entire new target market. Animation turns to live action, rough-and-ready picture relies on CGI, little-known commentary artists are replaced by prominent Hollywood stars and creatures are swapped for real-life stars. To commemorate the amazing new movie of eponymous cult TV series Tales of the Riverbank [talesoftheriverbank.co.uk/ trailer], here are some movie gems that in fact improve their youngsters' TV starts, as well as some stinkers that ought to have stayed with what they're best at:

Garfield (2004 )

On the one hand, Expense Murray seems like he's constantly been the voice of Garfield - his effortlessly ironical wit appears perfectly fit to the lasagne addicted fat feline. On the other, pretty much every little thing else concerning this film draws. The performing's unqualified much as well as the animation's nothing except devastating. The original cartoon and also cartoon series really did not venture to much from Garfield's clutter tray, so this effort to extend things to well over a hr simply ends up a mess.

Little bit recognized reality: Expense Murray tape-recorded a lot of his audio for this in Italy while shooting "The Life Aquatic" on a boat.

Official Garfield site - garfield.com/.

Stories of the Riverbank (2008 ).

Though not a cartoon, this new film is certainly worth a mention: when Johnny Morris first placed his voice to these riverbank pets in the 1959 TELEVISION series of the very same name, it might have been controversial. Yet it ended up that making animals look like they were speaking was a huge success. Today the lovable Hammy Hamster once again joins General Practitioner, Owl as well as good friends in a splitting function length waterfront romp. With a winning, British voice cast and also an innocently playful story, this flick is set to come to be a company family favourite. Little bit recognized truth: In the '60s TV show, the pets were manipulated to appear like they were talking utilizing peanut butter on the roof covering of their mouth.

Authorities Site - talesoftheriverbank.co.uk/ trailer. TOTR on IMDB - imdb.com/title/tt1043748/.

Teenage Mutant Ninja Turtles (1990 ).

There were the Samurai Pizza Cats and after that there were the Bicycle Rider Computer Mice from Mars - but both were inadequate copies of what was undoubtedly the supreme animal/mutant based anime action collection embeded in a drain ... featuring a chatting rat. "Adolescent Mutant Ninja Turtles" was a computer animated TV show in the 80s, a trilogy of live-action films in the 90s and extra lately a computer system animated movie (TNMT). The films are mostly horrible - however keep an eye out for a rather snazzy-looking Vanilla Ice in Teen Mutant Ninja Turtles II: The Secret of the Mud. Classic. Little recognized fact: In the UK the TV collection was called Adolescent Mutant Hero Turtles as the word "ninja" was deemed too terrible.

Scooby Doo (2002 ).

Among the far better remakes, this has to do with as close as you're going to obtain to the initial series without returning to complete animation. All the one liners exist, as are all the trademarks that made the original such a blockbuster. There's also a healthy dosage of self mockery to guarantee the grown-ups can enjoy it as long as kids. Anybody who discovered Scrappy Doo more than a little irritating in the original will like the twist at the end. The only enigma that still continues to be is this - what worldwide IS a Scooby Snack ?? Little recognize fact: In an early manifestation of the movie, a specific Jim Carrey was attached to play Shaggy.

Authorities Scooby website - warnerbros.com/sd_brand/index.html.

Thunderbirds (2004 ).

The initial creatures had heaps more magic as well as charisma than the 'live' actors in this substandard remake. Developer of the original TV series, Gerry Anderson, even contradicted a $750,000 offer to write an endorsement of the film for its release. A substantial flop. Sufficient stated.

Bit understood fact: The motion picture is directed by Jonathan Frakes who played Riker in Celebrity Trip.

Flintstones (1994 ).

Converting a computer animated classic right into a live-action movie making use of the real world actors isn't always easy. Perhaps one of the most important item of the jigsaw is the casting. In the case of 1994's Flintstones they soooo really virtually got it right. John Goodman as Fred Flintstone - spot on. Elizabeth Perkins as Wilma - produced the role. Rick Moranis as Barney Debris - all great. Rosie O'Donnell as Betty Debris? - Um ... fascinating. At least the sound-track (courtesy of the BC52s) appears terrific!

Little bit understood reality: Halle Berry plays a character called Sharon Rock (get it!?).

Transformers (2007 ).

Hardcore Transformers followers that bear in mind the 1980s hit cartoon program might feel a little peeved that, in a departure from the initial series, Spielberg and co. have made a decision to select some more contemporary automobiles. So Bumble-bee's no more a large yellow VW Beetle! Boo! However, those who can't remember the original (basically any person under the age of 30) will certainly love the non-stop robo-action.

Little bit understood fact: The 1986 "Transformers the Flick" was among Orson Welles last ever before films - one of his very first was Citizen Kane.

Tom and Jerry the Granddaddy of Children Cartoon Movies.

Everybody has their own favored animation movie or television program; actually animes are now a huge component of a kid's early years and also in addition to enjoyable to grownups also. If you were young in the 60's, 70's or 80's after that you'll have been lucky sufficient to have taken pleasure in the initial hand drawn animated standards, like the Flintstones, The Jetsons or among one of the most prominent as well as lengthiest running, Tom as well as Jerry.

The Tom and also Jerry show started out as a TELEVISION collection and after that went on to become numerous feature films; it has been running considering that the 40's and also has since won 7 separate Oscar awards for finest animated short. Back then you needed to wait on the program to find on at a specific time, though today were lucky enough to be able to acquire a Tom and Jerry DVD established anytime we like and experience the magic in our very own residences.

The personalities are basic Tom a mischievous residence cat with a taste for computer mice and also Jerry a shy computer mouse with a kind heart; both are close friends in mind, but constantly end up attempting to win one over on each various other typically with Jerry winning the day. The straightforward as well as hilarious slapstick comedy of this insane duo is what's made it so popular in nations all over the world; you'll discover the preferred films playing in almost any kind of hotel area on all continents.

So where did it all start? The majority of people don't realize that Tom as well as Jerry has actually had more than one developer in over 50 years of broadcast; the original two were the skilled William Hanna and Joseph Barbara. They pertained to the MGM workshops in the 40's with their concept and Tom and Jerry came true in individuals's houses. After a short time the show was reduced and the team split up until the 1960's when MGM made a decision to reactivate the task, they employed Gene Deitch for 2 years, yet his eccentric creative thinking didn't blend well with the program. In 1963 the workshops employed a brand-new director Chuck Jones that became the following maker of the motion pictures.

An instance of an especially great film is the magic ring which appeared in 2002, it was written and routed by both of the initial developers and additionally worked together on by Chuck Jones. If you're an enthusiast of the charming feline and also mouse duo then you'll enjoy this movie, it would certainly likewise be a fantastic intro to the personalities for your very own youngsters.

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doctorwhonews · 6 years

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Torchwood: The Last Beacon

Latest Review: Writer: Gareth David-Lloyd Director: Scott Handcock Featuring: Burn Gorman, Gareth David-Lloyd, Laura Dalgleish, Daniel Hawksford, Rick Yale, Marilyn Le Conte Big Finish Release (United Kingdom) Running Time: 1 hour Released by Big Finish Productions - April 2018 Order from Amazon UK “I can’t go in there – it’s got a hygiene rating of 1!” “Could be worse.” “How?” “Could be 0!” Since Big Finish acquired their prized license to continue the missions of Torchwood Three beyond their 2010 televised expiry date, we’ve seen their resultant monthly range deliver myriad unlikely character groupings: Captain Jack and Queen Victoria, Sergeant Andy and an enigmatic long-dead secret agent, Yvonne Hartman and Wales’ nightclubbing community, the list goes on. That trend of subversive matchmaking continues this month with The Last Beacon, wherein Cardiff’s famed coffee brewing extraordinaire Ianto Jones and its infamous soon-to-be eternal antihero Owen Harper must embark on the road trip to end all road trips. What could possibly go wrong? Well, we’re glad that you asked. Such circumstances could’ve never come about without sufficient incentive for both participants, of course, and indeed the pair has their work cut out locating the source of the elusive signal which endows Beacon with its name. Containing the language of an alien species long thought extinct, the sudden transmission brings Ianto and Owen out to the Welsh countryside for a makeshift bonding exercise-turned-trial by fire – the former equipped with his trusty coffee kit, mittens and years of camping experience, the latter only his wits and trademark bitter sense of humour. By now any Torchwood devotee should already have sensed the rife potential for fraught inter-team dynamics and rural satire just waiting for the play’s writer to exploit, and the scribe’s name? Gareth David-Lloyd. If the gamble of allowing one of the show’s lead stars to try his hand at penning their latest script, particularly with no prior writing credits to his name, seems a step too far even for a company as prone to risk-taking as Big Finish, then worry not; the studio couldn’t possibly have selected a more suitable custodian for this utterly spectacular buddy comedy. Whether he’s sending our heroes into pubs for spontaneous – if inevitable – brawls, eerie forests containing sinister visions of the past or abandoned clubhouses which Owen wryly brands as being “frozen in the ‘80s”, David-Lloyd evidently recalls transparently how the original series thrived on juggling humorous and horrific elements throughout its four-season run, straddling those contrasting tones with the same enviable ease as any of his fellow range wrights. Less surprising, however, is the man’s ability to brilliantly capture Ianto’s complex personality – on the printed page and in the recording studio – as if TV’s second most iconic butler after Jeeves had never departed from our screens or airwaves. It’s easy to forget at times how impressively multi-faceted a character Mr. Jones became over the course of 30 episodes, his quiet sense of humour belying intense romantic passion, psychological vulnerability and strained familial ties which then came to the fore in Children of Earth. Fair play to David-Lloyd, then, for placing this emotionally versatile character’s internal struggles front-and-centre in Beacon, with his struggle to reconcile the innocent tyke who adored visiting the Welsh mountains to see his gran with the oft-isolated man that we see today a core thematic and narrative element that lends vital gravitas to the mission and to his dynamic with Owen. Enter Burn Gorman, the return of whom to Torchwood marked by far one of the audio range’s biggest breakthroughs in 2017’s deeply unsettling masterpiece Corpse Day. Unsurprisingly Gorman – who successfully sent shivers down this viewer’s spine in the role of Oliver’s Bill Sykes on the West End a few years back – carries the performing mettle to simultaneously evolve Owen’s intricate relationship with Ianto, as the former discovers how the latter’s childhood experiences still inform his modern-day decisions, while also providing much of the tale’s pitch-perfect comic relief as Owen finds himself totally out of his element. Indeed, David-Lloyd confirms in Beacon's interview tracks that he and Goss conspired to bring Owen aboard what the former calls a spiritual successor to "Countrycide", knowing that he'd truly seem a fish out of water when met with the prospect of conversing with amicable bus drivers and alien badgers or indulging Ianto's newfound passopn for geocaching treasure hunts. That Gorman shares such obvious chemistry with David-Lloyd, particularly thanks to their hilarious good cop / bad cop approach, couldn’t have been predicted before recording, though; let’s hope that this month’s long-awaited team-up boxset Torchwood: Believe offers plenty more of this superb dynamic. Beyond the fine tonal balancing and gripping character drama, there’s even time for some provocative thematic exploration of communities and species straying from their traditional roots along the way. Guest star Ellie Darvill does an utterly tremendous job conveying her character’s underlying yearning for our species return to simpler times before our gothic pursuit of technology at all costs, a return to the rare community spirit which anyone who’s ever camped near rural villages will attest pervades that refreshing escapist experience. Once again, though, that David-Lloyd effortlessly integrates this increasingly topical talking point into the context of a sci-fi narrative – and indeed Ianto’s personal arc over the course of hour – speaks wonders for his previously untapped literary talents, to the remarkable extent that even Big Finish’s veteran scribes could learn a thing or three for future reference. Regular readers of our Torchwood audio verdicts might recall this reviewer previously calling out the range’s inconsistent approach to arc-building, but ultimately, if its – seemingly – standalone recent entries such as this one and last month’s brilliantly off-the-wall The Death of Captain Jack are even marginally indicative of what’s to come in future releases, then consider those qualms completely laid to rest. In The Last Beacon, Gareth David-Lloyd has delivered not only the definitive take on his still beloved character of Ianto Jones, but more importantly an incredible distillation of everything which made the show so successful on-air and which continues to ensure its hallowed place in fans’ hearts today. Next Time on Torchwood – We’re off for another road trip, this time of the psychological horror variety, as the Cooper family test their longstanding theory that We Always Get Out Alive to its nerve-wracking limits. First, though, who fancies attending Torchwood Three’s much-vaunted reunion party, the guest list for which includes immortal Time Agents, space pig-hunting medics and a certain renowned butler? Apparently securing an invitation to this prestigious three-hour event doesn’t take much effort for those in the know – all one has to do is Believe… http://reviews.doctorwhonews.net/2018/04/torchwood_the_last_beacon.html?utm_source=dlvr.it&utm_medium=tumblr

#BIG FINISH #AUDIO #TORCHWOOD

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