Posts Tagged With: doctor who series 12

Have I Got Whos For You (shameful catch-up edition)

You’re not supposed to apologise when you’re a politician. Dominic Cummings didn’t. Boris hasn’t. Trump certainly didn’t; I don’t think he’s capable of remorse. But I probably should: I’ve let you all down. You’ve been sitting there, on tenterhooks, awaiting something new and bloggish from the BoM crew (a crew consisting of one balding middle-aged man in a severely untidy study), and what happens? Nada. Zip. Zilch. I can picture you all, crying into your beds at night, anxiously hitting the refresh buttons on phones and tablets and sobbing at children and significant others: “ALL I WANTED WAS SOMETHING TO HELP ME THROUGH LOCKDOWN AND HE CAN’T EVEN MANAGE THAT!”

What? What do you mean you haven’t?

There have been…difficulties in the house over the last few weeks, and while we’re stumbling towards a temporary and uneasy equilibrium I’ve kind of had my hands full. And on the occasions they’ve been empty, I’ve been drained. Lockdown seems to have done that to people; we’ve all slowed down a bit. Perhaps I’d be able to cope with this better had we not been in the throes of a pandemic; there’s nothing better for destroying your motivation to do stuff than the knowledge that you more or less have to do it because you can’t go out.

That’s not to say I haven’t been producing content. There’s loads of it, and it’s all stacked up like an M20 Brexit run. Shall we clean out the pipes?

We start in early January, with the news that archaeologists in Pompeii had dug out the remains of what appeared to be a Roman fast food stand, complete with serving holes and some questionable artwork.

I’d love to visit Pompeii. I’d love to visit anywhere, come to think of it; you don’t appreciate small local jollies until that’s all you can do. Last May was Thomas’ birthday: we drove out to East Hendred, not too far from here, and walked through a small patch of woodland. At any other time of year it would have been a mundane afternoon out. In the midst of a pandemic, it was an adventure.

There’s always TV, of course. For example, early February saw the Super Bowl, which led to the obligatory Photoshop.

While the rest of the UK languishes inside, Boris is spotted riding his bike in Olympic Park. How do we know this?

Meanwhile in the TARDIS: Exhausted, disheartened and under-equipped, Rory is in desperate need of assistance as he battles to save the life of his patient. Fortunately the Doctor and Amy are on hand with a solution.

Of course, the big news so far this year (I use the word ‘news’) loosely concerns the rumours about Jodie Whittaker’s imminent departure, with ‘a source’ leaking the announcement to the Mirror. The BBC have neither confirmed nor denied this information, which is a euphemism for ‘it’s probably true’. It would certainly fit the mould: three series and that’s your lot, it seems, and I wonder what would happen if Whittaker were to actually regenerate in front of a companion who clearly loves her, or who is if nothing else becoming excessively clingy. If nothing else it’d be a bit of a laugh.

Say what you like about the Mirror, but they have form: they knew about the shift to Sundays, they knew about Walsh and Cole, and they clearly have a man on the inside, even if that man turns out to be Chibnall. But until it turns out to actually be the truth, it’s probably best if we treat such rumours with a heavy dose of salt.

Speaking of salt – well, no. Not salt, per se, but Weetabix toppings. In one of the least likely pairings since fish fingers and…well, you know, Weetabix have teamed up with Heinz to offer what is for many of us a frankly unorthdox breakfast solution. I’m fine, I don’t eat the stuff anyway, but it’s caused a furore over social media, largely because we’re in the middle of lockdown and there’s sod all else to do; not even a field trip.

We’re told to work from home, which is fine unless you’re a freelance piano teacher and your pupils don’t actually want to have online lessons, or your internet connection is rubbish, or you happen to be a cat.

But however bad things have been, chances are you’re having a better time of it than Donald Trump. Having spectacularly failed to mount the coup he’d allegedly been inciting – despite the best efforts of armed protesters who stormed the Capitol – the 45th President of the United States found his options running out and his supporters waning (well, some of them) and ultimately he had no choice but to slink off with another Donald who’d found himself suddenly removed from office.

It gets worse. Next thing you know the public at large is demanding Trump’s removal from Home Alone 2, a cameo filmed in one of his hotels and which he allegedly bullied the production team in order to secure. It rarely gets played in network broadcasts these days – it’s easier, I suppose, to simply avoid the headache – but the stills are out there on the internet, lingering like smears in the bathtub, and it seems the planned course of action from the clicktivists is to saturate Google with Photoshopped images that show Macaulay Culkin in conversation with someone else, so as to bump the displaced President down the search results.

Oh well. In for a penny.

But perhaps Trump’s biggest disaster was the loss of his Twitter account – a potent and powerful tool that enabled him to spread false information, rally his troops and (if nothing else) stay in the headlines of a press who hung on every misleading, poorly-spelled word. The permanent suspension that eventually hit in January was too little, too late, but you can’t entirely blame Twitter for not taking action until it was certain they wouldn’t be hit with an executive order demanding they cease and desist all operation immediately (which is, let’s face it, exactly what he would have done). As it stands, I’ve heard he took some rather drastic steps in an attempt to get himself reinstated.

We’ll finish with some of those Bernie memes. You know. The ones that got everywhere. And I do mean everywhere. Who knew the simple act of sitting cross-legged on a chair wearing a pair of mittens could have such a gargantuan impact on web traffic? What happened to us all to make us lose our minds like this? And yes, I’m using the third person quite deliberately, because this really was a gift to those of us who do this sort of thing more or less daily. And thus I made a few myself.

See you again soon for more silliness, and possibly even something with a bit of substance to it. But don’t hold your breath…

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Have I Got Whos For You (Seasonal Edition)

We’ve got something quite special turning up here at Brian of Morbius over the next day or two, but right now it’s half past six in the morning and I’m just taking a few minutes to do a meme catchup before these go completely out of date. In culinary terms, this is the blogging equivalent of that thing where you get all the leftovers out of the fridge and whisk them into a soup. I suppose. Sorry if that doesn’t work, I’ve not had coffee yet…

We open with a deleted scene from the recent finale to The Mandalorian, indicating that the series’ big reveal was originally planned much, much earlier.

I don’t know what it is; I tried every which way but when you paste it onto Matt Smith’s body it just doesn’t look like Luke Skywalker. Is this because it never did? And we simply bought it because the he had a lightsaber in his hand, had just jumped out of an X-Wing and the whole thing bore an uncanny resemblance to the ending of Rogue One? Or is my Photoshopping off this week? I’d say I think we should be told, but I can’t help thinking it’s not important in the grand scheme of things.

In any case, it’s not the first time I’ve done a Doctor Who / Mandalorian crossover and I suspect it won’t be the last.

<coughs>

Elsewhere, in a TARDIS somewhere in England, the rollout of the much-anticipated Covid vaccine is not going down with everyone, in a quite literal sense.

There are complaints when it’s revealed the Brexit Deal wasn’t quite as oven-ready as we were told.

And having nothing else to do, movie fans have launched into an epidemic of overreacting to unnecessary changes and miscast musical roles.

“AND THAT’S FOR RUINING THE PROM, YOU TWAT!”

We couldn’t end without doing something Christmassy. So here’s an unused still from series 12, part five.

—–

Trouble looms when Clara pops round to Matt Smith’s TARDIS to ask whether he’s got the turkey on.

—–

And trouble also looms beneath a Christmas tree in Oxfordshire when two unsuspecting action figures come up against a deadly enemy.

“Run, Bill! It’s Santa Claws!”

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Have I Got Whos For You (WE WON THE ELECTION edition)

Well. The new I’m A Celebrity lineup is shit, isn’t it?

I don’t know. They’re all in a castle. Isn’t this a bit of a missed opportunity? Couldn’t they get someone with stilts and a hood to chase them round and burn them? That’d be more entertaining than watching Shane Ritchie eat bugs. I swear, I’ve had dental work that was less painful.

We can, at least, console ourselves with the news that The Vicar of Dibley is making a long-overdue and ostensibly ‘welcome’ return, although it will probably be not terribly funny and there’ll be at least three people on Twitter complaining about fat shaming. Socially distanced Zoom-inspired innovation aside, I can’t help thinking this is something Curtis should have left buried, particularly given that half the cast are dead. Still, the BBC are milking this for all its worth, as evidenced by this publicity photo of Dawn French with co-star Roger Lloyd-Pack.

As I write this, Donald Trump’s legal campaign is still thrashing about in its death throes, determined to somehow gain some traction despite having produced absolutely no evidence. There are recounts and rumours of recounts and legal campaigns that are in and out faster than a priest in a brothel; it’s King Cnut (well, almost) shouting at the tide, although at least he possessed a modicum of self-awareness and was doing the whole thing as a joke. You really can’t say the same for the current POTUS, whose twitter feed is awash with false claims and heavily capitalised rants, as if the only viable route forward is to shout something loud enough until people start believing it.

Already the right-wing media are cutting and running, and Trump’s list of allies seems to be diminishing by the day, as the most powerful man in the world is reduced to muted press conferences from tiny desks. Around this time I would normally start to feel a bit sorry for him – he is human, despite his obvious faults – but I really find it incredibly difficult to muster any sympathy for such a graceless loser. It’s also a sad decline for Rudy Giuliani, who went from being a voice of hope and sanity after 9/11 to shouting his mouth off outside a gloomy-looking building in an industrial park, next door to a sex shop.

“Yeah, I’ve buggered this one up, haven’t I?”

Meanwhile, over in Utah (where of course they all voted red), a days-old mystery is solved when new footage emerges of a malfunctioning chameleon circuit.

There is a sense of irony about the timing. It’s funny that they just found it now, at the end of what has been for many people an annus horribalis; it’s as if some sentient alien race has been watching and waiting and is now playing a colossal joke. It’s curious that the first appearance of the 2001 monolith coincides with a tribe of knuckle-dragging monkeys smashing things up and yelling as loud as they can to assert their dominance. Go figure.

In the UK we’ve been watching all this with interest, because it takes our minds off the Brexit debacle, the arguing about ‘Fairy Tale of New York’, and the state of Amazon’s courier system.

Look, it doesn’t matter what Radio 1 does; no one over twenty listens to it and those that do probably have Spotify playlists, so if they want to censor the damned thing then that’s their prerogative. Better that we simply wait out the lockdown as quietly as possible and take comfort in simple pleasures, like board games. “Is he wearing glasses?”

Last night my feed pinged: the ‘Revolution of the Daleks’ trailer drops on Sunday evening, which means I’ll have something else to write about; you have no idea how difficult it is wringing every ounce of possible humour from such meagre pickings. I mean as a fan I don’t care; I can wait. As a creator, it’s frustrating. Still, as news drips through about the unavoidably delayed, inevitably divisive Series 13, a close-up from Jodie Whittaker’s inaugural season reveals exactly why this new one is going to be a bit shorter than usual.

I honestly don’t know why everyone’s complaining; there’s plenty of other stuff to be going on with. Take The Crown, for example, Netflix’s sumptuous costume drama detailing the history of the Royal Family: lavish as Game of Thrones, sensationalist as a National Enquirer exposé, and about as accurate as a Spanish art restorer. Not content with riding roughshod over Prince Philip’s marital history and fabricating scenes between his eldest son and Lord Mountbatten, they’ve now introduced Gillian Anderson as a fiery, uncannily authentic and disturbingly sexy Margaret Thatcher. I suppose it gives her something to do other than shine torches into dark warehouses.

Coleman is, in this image, the epitome of stern serenity, which is more than you can say for the arts world – which was rocked the other week by the unveiling of a new statue commemorating celebrated author and feminist Mary Wollstonecraft. Ordinarily this would have made for a joyous afternoon, except she turned out to be about six inches high, and completely naked. It was all a bit miniscope, really. In fact you might even call it a nightmare. In silver.

“PROTECT THE ARTEFACT!”

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Doctor Who and the Misplacement of Criticism

A curiously serendipitous thing happened the morning I got up to write this post. I was reading about Tom Ellis (he of Lucifer and ‘Last of the Time Lords’), and his secret and not-terribly-surprising hope that they’d ask him to play Doctor Who. The piece’s only comment came from a person I shall not name, in words I shall subtly paraphrase rather than quote directly, but it read “That would have been great. Somewhere there’s a parallel universe where this happened. And better yet, we wouldn’t have Chibnall.”

There’s something head-scratching about all this. It’s not the criticism, which is a democratic right, and perhaps not entirely baseless. It’s the context – or specifically the lack thereof. Here we have a press snippet about an actor who appeared in the show thirteen years back, playing a relatively minor role, and who – while he features heavily on the fans’ Most Wanted list – has had absolutely bugger all to do with it since his brief, one-episode foray. And yet here was Marcus (yes, that’s a pseudonym) using it as a sounding board to tell anyone who would listen about the current state of Doctor Who and just how rubbish it has become.

Why does it happen? Because it’s everywhere. I’m not talking about threads that ask for your favourite episodes from Chibnall’s run to date, or listicles that detail our Hopes For Series 13. I’m not talking about pictures of Jodie Whittaker in a dress and makeup in front of a grey background accompanied by the words “Love her”. I can understand why fans vent their frustrations about current story arcs when it comes up naturally in conversation, although the frequency and ferocity of these vents is something we may come back to.

But on a post about ‘Snakedance’? Or the War Doctor? Or, I don’t know, fruit? “I hate apples,” reads the Tumblr post. “Apples are rubbish.” In the next panel, an image of the Doctor throwing a plate through the open door of Amelia Pond’s house, accompanied by the words “AND STAY OUT!”. “That’s what we should be saying to Chibnall,” says someone further down. Or it’ll be a post announcing that it’s been thirty-two years since ‘The Happiness Patrol’, upon which it’s a cast iron guarantee that at least one smart-alec will quip “Still better than anything from the last two years.”

In all fairness, a remark such as this is only marginally less interesting than the revelation that we’re celebrating the thirty-second anniversary of ‘The Happiness Patrol’ (something I never really want to know about, as much as I enjoy it), but this is hardly the point. What’s to be gained here? Do these fans really feel so marginalised and helpless and believe in Doctor Who so passionately that they see it as essential to state their case at every conceivable opportunity? Is it a form of addiction, where you have to do it every so often or else you’ll get the shakes? Because I sometimes feel it’s like walking into a McDonalds and shouting “Wow, THIS IS SO MUCH BETTER THAN THE ONE IN HEADINGTON”. There’s nothing illegal about it, but it’s idiotic behaviour.

I can’t help feeling that at the heart of this is a deep-rooted personal insecurity, whereupon the value of your life is measured not in afternoons and coffee spoons but in how much noise you can make. These people need the attention that comes from speaking their mind, and the anonymity and remoteness of the internet makes it all the easier. Why bother to account for yourself when the worst that happens is a ban or a block? Why learn social graces when Facebook and Twitter are the very hub for misanthropic discourse – disguised, with a most delicious sense of irony, under the false moniker of Social Media? You can hardly move for posts wishing death or castration on the man at the top. Did it happen under Moffat? It certainly did, although I think it was far less prevalent. Is that because we have a woman in the TARDIS? I’m not saying.

“Yes,” we’re told, “but THE WRITING SUCKS”. And all right, yes. Sometimes it does. There is a place for adhering to certain standards: we must acknowledge that ‘It Takes You Away’, for all its quirkiness, is not a good episode; that the dialogue is sometimes clunky and awkward; that there is a shoehorning of Positive Values that occasionally grates. I’ve written about all this elsewhere and it does not need rehashing. Doctor Who is not always very good; it may be that it is currently not as good as it has been in previous years. Those of us who lived through Sylvester McCoy have been here before, but that’s not necessarily an excuse: there are periods where it’s really very good and quite popular, and periods where it isn’t. We’re in one now, or we’re not, depending on whom you ask.

But I do not think that it needs the spitting of feathers. I do not think that repeated comments in decontextualised conversations achieve anything. They only wind up the rest of us. The BBC do not care about the grumblings of a few white men (and they are almost always white men, these gatekeepers; make of that what you will). They have a new demographic in mind. There is a core audience who feels marginalised and abandoned but who is ultimately unwilling to accept, as perhaps we must accept, that Doctor Who has moved on without us: that it is not the show we knew when we were growing up, and that it is this sense of abandonment that has allowed it to survive this long. And yet here you are, Marcus, with your comments about how disappointed you were with the supposed destruction of a continuity that actually never existed in the first place. You’re losing your rag over a children’s show. And here I am, losing my rag with someone losing their rag over a children’s show. Sometimes I wonder which of us is the bigger idiot.

Criticism is fine, when it’s in the right place, and when it’s invited. Everything else is by turns toxic, unhelpful, and unpleasant. Mansplaining is endemic: so is the tendency to back up your beliefs with comments about audience views. From your perspective, it is apparently not enough that you do not enjoy Doctor Who; it’s far more important that no else does either. And all this was in response to a question about Susan. Congratulations, Marcus, you win this week’s award for the most pointless non-sequitur. The mind boggles.

But seeing as you and others like you are determined to make unhelpful and unrelated rants about Chibnall a daily activity, I’ve made it easy. I took the liberty of finding some choice quotes from New Who and sexing them up a bit, so they’re nicely twisted to reflect your views. And the next time you want to hijack a Donna Noble appreciation thread, you can simply paste one in, just in time for me to show up and link to this piece to show everyone else what an idiot you’re being. Because I’m still watching you, you know. I’ve learned to intervene a little less, these days, because it seldom goes anywhere, but just occasionally, when you’re being particularly rancid, I’ll swoop. And I probably won’t win – the best we can hope for is a block-induced stalemate – but it’s quite fun watching you harrumph. Remember that, before you post.

Or, you know, you could simply find a new and less aggressive pastime. But we both know that’s not going to happen, don’t we?

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Have I Got Whos For You (two for the price of one edition)

Hello kids. Here, have a Pope meme. In fact, have two.

“You are consistent,” said Melinda Malovey (not her real name), discussing the first image, “in telling us in a passive-aggressive way that you don’t like the Thirteenth Doctor.”

Really? Gosh, that’s news to me. I assume it’s because the Pope is holding Whittaker in the same position that you’d hold the communion wafer that you’re about to break. So what, you figured he’s about to rip her in half? Do you have any idea how difficult it is to tear plastic? Maybe he’s about to part the legs and have a look to see if there’s anything up there, something I suppose we might ascribe to repressed Catholic sexuality. This is like a scene from Bottom or something.

No, listen: I wanted to do a Pope thing because everyone else was, and my initial idea was to have him holding Whittaker in the one hand and Darth Vader in the other, ostensibly as some sort of Who / Star Wars comparison, only when I actually did the Photoshopping it made more sense to leave her on her own. And people have jumped to conclusions because they only see half the stuff on your feed, and the Report button is just a swipe away. Which I suppose is the sort of thing that happens in groups; everyone makes assumptions, and everything betrays authorial intent.

If I sound a little testy it’s because I write this, dear reader, on an afternoon I’ve been muted for having a go at someone who refused to accept either the concept of male privilege or the fact that he was guilty of it, and when I challenged him on his (repeated) comments his reaction was “Oh, just leave me alone”. This was right before he became whiny and foul-tempered because I wouldn’t simply accept what the moderators referred to as “a difference of opinion” – there is, in some groups, a strong rule set that espouses Any And All Views, however insane, because it’s easier to lock the thread than it is to pick a side. So if you actually stand by your principles (something I do only sparingly these days) then you pay the price.

Anyway, these are my principles, and if you don’t like them I have others. There is political content in this blog, and on my page, and in groups that allow it. I make no apology for this. I see a lot of stuff I ignore, and if I’m arguing with you then there is usually because I feel strongly about it. And the government are fair game, particularly when they screw up the country as much as this elitist, xenophobic, dispassionate bunch of defund-the-BBC fuckwits are currently managing.

You know the worst thing about that Fatima photo? It was on a stock site, and they didn’t even ask permission – something they really should have done, given that her face is clearly visible. It’s another thing that was clearly Not Properly Thought Through – you know, like when you cut corners by killing the software design budget for your Track-and-Trace database, and doing it in Excel instead.

Anyway, Fatima’s OK now, and faces a bright future in ballet.

While we all sit around making jokes about reskilling, the Government have got on with the oh-so-serious business of dealing with the catastrophic state we find ourselves in by adhering to a needlessly complicated and logistically impractical workflow that aims to be both healthy and beneficial for schools and the economy and as usual doesn’t really manage to be either. In practice this means dividing up the UK into different segments and colouring them in. Their mandate for containing Covid has literally become a year seven geography lesson. I scoff, but it’s not funny at all if you’re in Liverpool.

It should be noted at this point that this applies to England only: Scotland and Wales have their own system. Indeed, Wales has gone on full alert, banning any visitors from Tier 3, with local law enforcement ramping up their security arrangements in order to repel would-be invaders.

Meanwhile, the 2020 U.S. Presidential campaign is hit by scandal, when a series of emails are discovered in the most unlikely of places.

“Dear Hunter, thank you inviting me to DC and – Jeff, is this your laptop?”

What else happened this week? Well, on Monday we got to see Jodie Whittaker research her family history, which proved to be far less interesting than I thought it was going to be – mostly because I’ve never watched an episode of Who Do You Think You Are? and hadn’t realised how shamelessly manipulative it all was. We were treated to numerous images of Jodie looking by turns wistful and reflective, reading out loud everything we could see on the screen just before Phil Davis told us exactly what had just happened, as if recapping after a commercial break that only happens on BBC America. “I’ve never met them,” says Jodie, wrapping a scarf around herself, as she stands by a grave. “But I feel like I know them.”

Anyway, I made a drinking game out of it, which was a productive use of the time. And it was lovely to see Sid’s Cafe again.

The kids and I have been gaming. I’m on Rise of the Tomb Raider; Thomas is working his way through Geometry Dash and enjoying the Minecraft DLC in Super Smash Bros, along with its questionable victory screen. One game we all enjoy is Among Us, the whodunnit smash that’s currently enjoying a lot of press coverage in the wake of the announcement that InnerSloth have cancelled the sequel so that they can improve the original. The game, for the uninitiated, is a multiplayer murder mystery on board a spaceship on an unknown mission, designed for quick play.

In each round you’re assigned a role – either a crewmate or, if you’re lucky, imposter. The crewmates all have tasks to perform. The imposter’s job is to sabotage those tasks, and murder as many people as they can without getting caught in the act. By turns, the surviving crewmates vote on who they think the murderer is: the most popular choice is ejected, irrespective of whether or not they’re actually guilty. Rounds begin with the announcement that “There is 1 imposter among us.”

“It’s the current regeneration,” said more than one person. “She’s the imposter. #notmydoctor.” I really should have seen it coming, shouldn’t I?

Anyway, the idea of imposters and sabotage on a galactic freighter – a sort of interstellar Cluedo – really is quite Whovian in its concept; it plays out like ‘The Robots of Death’. We’ve been here before, but there’s nothing new under the sun and I can’t help thinking that some sort of episode based around it – however meta we go – might actually stand a chance of working.

“Oh God. Did it vent? DID ANYBODY SEE IT VENT?”

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Doctor Who series 12: the executive summaries (part three)

Our series writeup concludes with a look at the Cyber trilogy, and the episode that basically deconstructed canon. I think this may be the point at which I officially lost the plot. That’s OK, there wasn’t that much of a plot to begin with.

 

The Haunting of Villa Diodati

To the tune of Science Fiction Double Feature:

Jodie’s got a new jacket
And they’re making a racket
Just as loud as the wind and the rain
It’s the summer of darkness
But there’s no sign of Harkness
Still they said we won’t see him again

There’s a fixed point in time
A combining of minds
For an evening of terror and fear
But there’s no drive for mystery
They’d rather play Twister, least
That’s what it looked like from here

Science fiction, Sunday feature
With yet another disturbing creature
Just enjoy it, ignore the ratings
We could argue about UNIT dating
Or, I don’t know-oh-oh-ohh
Whether Jean-Luc Picard could make it so
On HBO
I wonder if we’ll see some more of Jo?

There’s a big metal beast
And a storm from the east
Seems all hope for humanity’s gone
Byron behaves like a cad
Even Yaz isn’t bad
And Graham’s lost on his way to the John

Ryan acts like a melon
Now the Doctor is yellin’
And the butler’s a corpse on the floor
If you ignore all the theories
It’s the best one this series
And I’m really quite anxious for more

Science fiction, Sunday feature
The BBC’s our reluctant teacher
Who would Yaz like to be kissing?
At least the rants and lectures are missing
But I don’t know-oh-oh-ohh
I think they’ve kept them in reserve for next week’s show
I don’t wanna go
My favourite Teletubby’s always Po
Ko Ro Bo So
Somewhere I think this song has lost its flow

DWC write-up

 

Ascension of the Cybermen

Here we go, then.

Feekat (Steve Toussaint) – Teacher. Suitably grizzled. Last seen at 15:27, when he’s offed by a marauding Ashad.

Ravio (Julie Graham) – That woman from Bonekickers hiding behind a lot of grime. Last seen flirting with Bradley Walsh. Presumably hiding a tragic past. Dialogue minimally more sensible than it was in Bonekickers.

Yedlarmi (Alex Austin) – If Fiore from Preacher had a Prozac addiction, he would be sort of like Yedlarmi. Last seen panicking in a Cybercarrier.

Fuskle (Jack Osborn) – Yedlarmi’s mute brother. Last seen at 09:55, when he’s caught in an explosion.

Bescot (Rhiannon Clements) – a pilot, or something. Feisty.

Ethan (Matt Carver) – More capable than his boyish appearance suggests. Makes it to the beach with the Doctor, but probably won’t make it much further.

Ko Sharmus (Ian McElhinney) – Episode 8 Luke Skywalker, but less grumpy. Either a disguised Rassilon or the Ruler of the Universe, in which case we’d like to see the cat next week.

Why, constant reader, have I gone to all this trouble? Well, it’s for largely selfish reasons; I have to make a note of them somewhere. Otherwise I can’t remember a thing. I’ll be looking back in the middle of a Series 13 write-up at a random thing that happened to a particular character in this story, and I’ll be as confused and empty-headed as Arnold Rimmer during an engineer’s exam. Age is part of it; comparative unfamiliarity (as I write this, Ascension has been viewed a single time in our house) is another factor – but sheer mundanity takes the lion’s share. This episode was a masterclass in How To Construct Generic Characters Who Amount To Nothing.

Seriously. There’s no spark, no life, no soul. You could have given their dialogue to a group of year seven drama students and it’d be similarly dead. There’s no problem with the performances per se – everyone makes the best of what they have – but it’s disheartening to watch a story in which bad things happen to supporting characters who disinterest me. It happened in Into The Dalek. It happened in Oxygen. And Empress of Mars, and – look, it’s not new; it was just particularly bothersome this week. A full cast of interesting secondaries is a pipe dream, of course, and Classic Who is crammed with generic three-line roles who were offed by the Daleks before they’d made their mark…still, you need at least one, surely? Otherwise, how are you supposed to care about people getting blown up or shot at when they don’t leave any sort of gap?

I’m sure it wasn’t always like this. I can still remember every one of the people from LINDA. They were fun and they were sparky and it wasn’t fair that they all got superglued to Peter Kay’s hips (to be fair, I wouldn’t wish that fate on Jacob Rees-Mogg). I don’t even think it’s the type of stories you tell. Voyage of the Damned is a glorified base-under-siege (with the notable exception that the base is falling to Earth), but the people in that were, if occasionally stereotypical, at least fully-formed stereotypes. Some of them even had a bit of spunk to them. And his track record proves Chibnall is perfectly capable of coming up with decent supporting characters when he pulls his finger out. Everyone slates The Tsuranga Conundrum – perhaps rightly so – but at least Yoss the pregnant man was fun to watch.

If you’re going to throw the fate of humanity into balance, it would be nice if you could at least give us some fully fledged humans to worry about. It’s not like I care about what’ll happen to the companions. We know they’ll survive, at least until next week (and almost certainly beyond, because Doctor Who hasn’t properly killed a full-time companion since Earthshock). Conversion is a possibility, of course, but it’s unlikely because the media (who’d already seen the episode) spent most of last week writing glorified press releases that asked “Is Ryan in danger?” coupled with that picture of him wired up to what was actually the ship’s control panel, rather than the Cyber-conversion unit we all knew it wasn’t. Besides, they did that three years ago and even Chibnall isn’t that much of a hack. Probably.

Bet he’s dusted off the Cyberwoman outfit just in case, though. I mean it might fit Yaz. God, there’s an image.

DWC write-up

 

The Timeless Children

‘Questions after this week’s Doctor Who:

  • Has anyone location-spotted that TARDIS house yet? Can we have a deleted scene where it suddenly dematerialises, and across the road Craig Owens rubs his eyes and then mutters “Not again….”?
  • If Brendan really was a projection of the Doctor’s origins, is Gallifrey in Ireland, or is Ireland in Gallifrey?
  • Assuming the rumours about Graham and Ryan are true, what are the odds of their last scene being shot in the cemetery where Grace is buried? And what are the odds Graham’ll say “We move on, but we never forget, and I think she’d be proud of both of us”, while looking forlornly at the headstone?
  • Did Ashad really greenlight that Cyber Lord plumage? Has he not stopped to consider the practicalities? How do they compensate for the extra weight? What happens if three of them are trying to squeeze into a Debenhams lift?
  • On a scale of 1 to 50, what’s the likelihood of Whittaker beginning her next conversation with Dhawan with the words “So, you escaped from Gallifrey then…?”
  • We’ve had Remembrance, Revelation, Resurrection, and now Revolution of the Daleks; can we have Remuneration of the Daleks next? With a behind-the-scenes look at Dalek accountants and payroll, like The Sun Makers but all about zero hours contracts? How about Renaissance, where they’ve all got artist’s berets and are elevating themselves up to the ceiling of the Sistine?
  • Coronavirus. Plot predictions. Please give reasons for your answers. __________
  • If the Master’s so good a hacker, how come he can unearth Gallifrey’s secret past and grisly backstory but he can’t recover Fury From The Deep?

Seriously; I think we should be told…’

DWC write-up

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Doctor Who series 12: the executive summaries (part two)

The lockdown writeup continues in earnest. Today, we’re looking at episodes five through seven – also known as the Dreammaker Revisited, the Plastics Rant, and The One That Changed Everything, not necessarily in that order. I’d been reading a lot about Mondrian during the mid-point of Series 12; possibly that comes across.

 

Fugitive of the Judoon

(We published this one as a separate piece, because…well, you’ll see why. It was far too long!)

 

Doctor: The streets of Gloucester are beset
With things to make you scream and fret
A great big stomping black platoon
Of horny, militant Judoon!
I think they want to make a capture
To transport like some ghoulish rapture.
Quick, Yas! To them you’ll have to speak
And earn your crust, at least this week.
All right?

Yas: Well, yes, I’ll try to play ’em
But hang on, aren’t we missing Graham?

Ruth: I’ll have to hide! It’s me they want
I’ll head for that baptismal font

Doctor: Too late! They’ve seen you, don’t you know
We’ll have to make a-

Ruth: KO BO SO!

Doctor: I didn’t know you spoke their tongue.

Ruth: Neither did I. And why’ve I flung
A rhino cop across the floor?

Doctor: The scene lacked pace. But here come more!
We’d better drive out to the coast
Or otherwise we’ll both be toast.

Ruth: But where’s your friends? You’re on your own
You’ve got no clue just where they’ve flown
Or what they’re doing, now they’re missing!

Doctor: I imagine mostly kissing.

Jack: You read my mind. Which one’s the Doc?

Graham: It isn’t me. But what a shock!
What did you want?

Jack: I had a plan.
Beware the lonely Cyberman
And – arrgh! They’ve pulled me from this joint!

Yas: That cameo really had no point.
We’ll have to see if Whittaker
Can find out what the answers are.

Doctor: I’ve dug and dug, and found a TARDIS!
I’m lost, although I’ve tried my hardest.

Ruth: Allow me to explain, my dear
I’ve just remembered why I’m here
It seems that I’m a Time Lord too
Another Doctor, just like you.

Doctor: You can’t be me! I won’t allow it
The fans’ll surely disavow it!
You cannot be me night or day
On Calufrax or Gallifrey
You can’t be me on Metabilis
Unless you tell me what the drill is.
You can’t be me in acid rain
Or –

Ruth: Please, let’s not do all that again.
I’m this year’s overarching query
Left to the mercy of fan theory.

Doctor: I simply do not have a clue
About these Doctors One and Two.
It makes no sense! I just can’t see
How I am you and you are me.
I’ll sulk for weeks in sheer frustration
About this mystery incarnation.
This duplicated wooden box
This ghastly temporal pair-o-docs.

Ruth: I understand now why you run.
The crowds’ll hate you for that pun.

Doctor: I like your dual role though, kitten.
It makes me feel quite underwritten.
We’re kicking up the hornet’s nest
The fandom’s going to be quite stressed.
As retcons go, this one’s encumbering
We haven’t even touched the numbering.
I need a break – you must agree
This story’s been enough for me.

Graham: Well, yeah, that’s true – but wait a minute,
Nothing really happened in it!

With apologies to another great Doctor.

 

Praxeus

‘I’m going to level with you: I spent certain key moments of Praxeus hiding my face in my hands. It’s nothing to do with virtue signalling. It’s simply because the type of death depicted this week – the scaling of the body, from fingertips to skull, followed by sudden facial disintegration – is something I’ve never been able to watch, and thus something I’ll avoid watching as much as possible. You remember that scene in Resident Evil where the guy gets sliced into cubes by the lasers? I don’t.

It’s an exercise in empathy, this cowering behind the fingers, because my ten-year-old was similarly freaked. And I suppose this was an episode for him, in a way, given the message it was conveying, delivered with the same sense of understated reserve we’ve come to expect from Chibnall’s time on Doctor Who. It isn’t enough simply to show the effects our disposable culture is having on the oceans; we have to get a hastily delivered lecture as well, Whittaker pacing and gesticulating with the ferocity of a BSL interpreter during a Stormzy gig, pausing to dip her head and lower her register during the important bits. Regular readers at the DWC will know that I was one of the few champions of Series 11, and I stand by everything I said in 2018, but even I’m finding this a bit much.

That’s a shame, really, because the more this run of episodes continues the more Jodie seems to be hitting her stride. She really is very good this week: confident and calm, pulling off precise TARDIS manoeuvres without breaking a sweat and appearing, it seems, in all corners of the world at a moment’s notice with the sort of omnipresence that Jennifer Saunders’ character managed in Muppet Treasure Island. Indeed, Praxeus is one tribute act after another, paying homage both to The Birds and Hot Fuzz almost within the same minute. Indeed, there’s a glossiness to Praxeus that lends it an elegant, packaged feel: who cares if the scenery is largely recycled when it looks this good?

But as good as it is – and there is much to enjoy this week, from Graham’s heartfelt, beautifully photographed beach conversation with Jake to the happy ending we arguably didn’t deserve – it’s very much Been There, Done That. The timing doesn’t help – we’re only three weeks after Orphan 55, remember – but it’s hard not to shake the feeling that someone high up at the BBC is sending down notes, mostly along the lines of “Needs a monologue”. Would it hurt to simply mention things and then drop an advisory message at the end of the programme so that people can look things up on the internet? Because we’ve got 490 minutes a year, which really isn’t much in the grand scheme of things, and I’d really not be wasting any more of them listening to another lecture about how plastic is killing the environment. Not when the BBC have just greenlit another line of action figures.

Oh, and just as an afterthought: somewhere, millions of years ago on prehistoric Earth, a charred and bloodstained young maths prodigy is crawling out of a wrecked spacecraft. And he’s really, really pissed off.’

The DWC write-up is still missing. 

 

Can You Hear Me?

“James, are you sure you want me to use this?”
“Yeah, sorry. I just don’t have time to write anything this week.”
“Yet you somehow found time to throw this together.”
“…”

DWC write-up

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Have I Got Whos For You (statuesque edition)

“For god’s sake, Danny, stop urinating on them.”

It’s been a week of (self) righteous anger. The ‘self’ is optional; you can put it on if you like. The world we live in is one in which no sin goes unpunished, no tweet unmocked; a world in which armchair judgement has become second nature. No one is safe: it doesn’t matter if it’s angry protesters throwing statues in the river or multi-millionaire authors throwing their weight around.

It’s dull, and I’m tired of writing about it, so let’s look at this week’s news roundup. There are troublesome scenes in central London when Missy can’t remember where she parked her TARDIS.

And on a routine visit to a parallel Earth, the Doctor and Rose are unsettled when they run into a queue for the re-opening of Primark.

Meanwhile, as fury reigns over the expungement of classic episodes and series from on-demand services, a trawl through the Gallifreyan Matrix reveals that even the Time Lords have grown concerned over sensitive content.

In Surrey, Thorpe Park opens after lockdown as a flurry of punters rush to make the most of the good weather.

And an abandoned concept still from the new Bill and Ted trailer reveals that studio execs were suggesting a very different look for the phone box.

“Dude. They’ve, like, totally redecorated.”

 

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The Smallerpictures Video Dump (2020, part one)

Population 51,201. Possibly not for much longer.

One good thing about a lockdown: I’ve had a chance to amalagamate all the leftover copy I’d not got round to filing these last few months. Which means we’re in for a busy few weeks here at BoM, as we go through series retrospectives, how-to guides, and even a bit of myth debunking along with all the meme roundups and general idiocy. But we’ve also got a few videos to get through, so let’s rewind to the beginning of the year, when we were all still allowed out.

 

1. The Name of the Master (January 2020)

Don’t get me wrong. ‘Spyfall Part 2’ was quite fun, but this whole thing really was a bit dom / sub, wasn’t it? Never mind that the relationship between the Master and the Doctor is already tapping a wealth of unresolved sexual tension, long before either of them swapped genders: a scene like the Master’s ‘Kneel before Zodd’ moment took it to the next level, and it really is like handing a silver platter to the fan fiction writers along with a note reading “Go on then, you win”.

It was Pip Madeley who turned this into a Fifty Shades of Gallifrey type thing – he may even have called it that; the Tweet is proving elusive so we may never know. My own version is a good deal less suggestive and not terribly funny, relying as it does on the conceit of the Doctor forgetting (either deliberately or through sheer scattiness; you pick) exactly whom she’s supposed to be addressing. The tricky part was dropping in names that weren’t saturated in background noise (something I’m not particularly adept at removing), which meant several otherwise viable candidates had to be removed. Still, there were enough left, and the end result hangs together. Just.

 

2. Twice Upon A Time: The Deleted Scene (January 2020)

This seemed like an obvious joke, so I ran with it. It was a crazy week: everyone was busy arguing whether Jo Martin’s Doctor was pre-Hartnell or pre-Pertwee (the consensus: it had to be the latter, because she had a police box and otherwise EVERYTHING HARTNELL DID IS RUINED). Then ‘The Timeless Children’ came out and all hell broke loose, given that it essentially validated just about every tinpot headcanon theory in existence. In the meantime, I’d been making this: having promised the others he’ll be quite some time David Bradley takes a walk into the snow, and then pops back to his TARDIS, only it’s not his TARDIS. Nor is it Capaldi’s. You see where we’re going, don’t you?

 

3. The Angels Take Manhatten, Rescored (March 2020)

Wrestling. That was it. There was content to show and plot lines to advance (and, one suspects, a series of expensive contracts to fulfil) and so the WWE, in their infinite wisdom, elected to broadcast Wrestlemania 36 within the confines of a studio instead of an arena. There were no queues, no gigantic foam fingers or homemade banners, no jubilant teenagers fired up on coffee and Red Bull giving their predictions. Just a lot of thirty-year-old men, pumped with steroids and rehearsing their lines in a mirror. Yes, I know you could hear the trash talk. I don’t want to hear the trash talk; I just want them to work the crowd. If there’s no crowd, it’s all rather flat.

The fans seemed to know this as well, which is why a Twitter user who goes by the name of SideEye elected to overdub a heartfelt confrontation between Brad Wyatt and John Cena with, of all things, the Laura Palmer theme from Twin Peaks. It was mad, but it worked (and it was, as you’ll see in the article I’ve referenced, not the first time someone had paired professional wrestling with Angelo Badalamenti). There is something about that music that is both emotionally overwrought and just a little bit artificial, which is the entire point of Twin Peaks and one reason why it’s so brilliantly unsettling. And while I concede they’re very different shows, it really ought to work with Doctor Who as well, surely?

It does. If you can time it so that final, climactic change from minor to major happens at the precise moment Amy vanishes, everything else just sort of slots into place. Who knew?

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Have I Got Whos For You (Easter Bank Holiday Edition)

“Huh.”

River wasn’t expecting this.

“I’m sorry sir, but I’m afraid I will have to ask you to move on.”

“Order 66.”

“…son?”

And in a back garden somewhere in Oxfordshire…

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