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Fil5000 posted:The first issue of Crossed ends with two parents and their kid being eaten and gang raped by Millar's zombie equivalents. Wanted ends with the lead character telling the reader that this is what his face looks like when he's loving them in the rear end. Another of his Authority arcs has the whole team depowered, both female members mind wiped and put into abusive relationships. Crossed is actually Garth Ennis, who freely admits he's got issues. Millar's just a hack.
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Aug 8, 2015 14:23
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CobiWann posted:Crossed is actually Garth Ennis, who freely admits he's got issues. Oh, of course it's Ennis. Somehow I forgot that.
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Aug 8, 2015 14:31
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Fil5000 posted:Oh, of course it's Ennis. Somehow I forgot that. I like Ennis' work. He's very over-the-top and doesn't seem to have any limits or boundaries, but he's a drat good storyteller as well, so the shock value has a purpose. Crossed is one of the most hosed up and sickening things I've ever read, and it's Ennis' way of saying "yeah, all you people who think you'd be prepared for the end of the world? You're all hosed." Millar's verson probably wouldn't even come close to that lesson... Plus, Ennis wrote the best portrayal of Superman ever.
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Aug 8, 2015 15:32
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I read Jupiter's Legacy for the Quitely art, hoping to be able to ignore most of the Millar-ness. The third issue ends with the superman equivalent's brother convincing his nephew (the aforementioned guy's son) and all of their collective teammates to brutally murder fake superman and his wife. Brutally. The reasons range from "I don't agree with their style of leadership" to just plain jealousy. The best part is a bunch of reviews praising the "realism". Like I get that people hate the cliche "good guy wins without any loss of life and winks at the camera" style stories. But what part of murdering your boss/parents for petty reasons is "realistic".
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Aug 8, 2015 15:33
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https://www.youtube.com/watch?v=7zdRrf8OdSA
surc fucked around with this message at 18:02 on Aug 8, 2015 |
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Aug 8, 2015 17:56
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It is six degrees to Dr Who Mark Millar was the protege of Grant Morrison who wrote some comics for Dr Who magazine in the late 80s Garth Ennis frequently worked with the artist Steve Dillon, who is the co-creator of Dalek Killer Abslom Daak, who was shown as an easter egg in the Time Heist episode!
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Aug 8, 2015 18:02
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Speaking of comics, everyone should be reading More Than Meets The Eye, which is about a bunch of B-, C-, and D-list Transformers going on a road trip after the war is over and they don't know what to do with themselves after 4 million years of conflict. Some of the robots are gay!
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Aug 8, 2015 18:11
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DoctorWhat posted:Speaking of comics, everyone should be reading More Than Meets The Eye, which is about a bunch of B-, C-, and D-list Transformers going on a road trip after the war is over and they don't know what to do with themselves after 4 million years of conflict. Speaking of dumb robot comics, how is the comic where Megaton becomes an autobot because he realizes his rebellion went evil like a million years ago?
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Aug 8, 2015 18:18
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That's MTMTE Season 2 and it's fantastic! Megatron as an Actual Character is so compelling and the crew dynamics related to his change of alliegiance are great. There's a great scene where some of the characters are talking about how they're starting to like Megs and how that scares them.
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Aug 8, 2015 18:43
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Fil5000 posted:Wanted ends with the lead character telling the reader that this is what his face looks like when he's loving them in the rear end. Haha, I wondered how far we'd get before that was mentioned. It's not the line itself that's as silly as that it's the triumphant end to a rant about what brainpess wastes of flesh people who read comics are. It's meta-narrative "WAKE UP SHEEPLE." At least the movie was a little less stupid (though it didn't raise the bar more than one mark.)
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Aug 9, 2015 20:30
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Doctor Who "Mummy on the Orient Express" Series 8, Episode 8 The big problem with narratives like "Mummy on the Orient Express'" is that it reminds viewer and critic alike that Doctor Who is just a show. An episodic, sometimes serial narrative produced first and foremost to appeal to children, publicly funded and publicly aired. It is nothing if not accessible, it's not meant to be the next War and Peace or Gravity's Rainbow or Citizen Kane. It is not "high" art. I say this not to denigrate DW - far from it. The exact opposite, in fact; there is a trend in criticism to overanalyze and overcriticize media, especially children's shows. It's a malicious, ugly section of media fandom; it's punching down, essentially. An excuse for the vitriolic aspects of a fanbase to self-aggrandize by pretending that they're some highfalutin Roger Ebert type, but they simply lack the skills or critical removal necessary to analyze media of any real weight. So, they instead produce three-thousand word thinkpieces on the deeper meaning of an episode of loving Adventure Time. The methodology is simple, and almost perverse in its reasoning: One, set an impossibly high standard, but even more strikingly obvious in children's media- a form which demands simpler themes, simpler morals, and more reductive storytelling. Two, when that work fails to meet an ever-climbing standard, vilify it. Blow tiny cracks out of proportion because it isn't The Perfect Narrative. To be clear, I'm most certainly not blameless in this endeavor. My hands are not clean. As I approach the twilight of whatever this monster of a project ended up being, I've ended up writing more words than those that are contained in War and Peace, in service of reviewing something like 110 episodes of a show that I professed to aggressively hate. If there was an award for Taking Doctor Who Too loving Seriously, I would be on that short list. But I'd like to think that through it all, through the year-plus this whole process has taken, that I've never fallen into that pit that I described above. That sort of rigged game of the internet critic who spends his days lambasting sacred cows simply because he could. It's part of why Oxx has been so integral to this entire thing, even after he quit; "It's a show for kids," he used to emphasize and overemphasize to me both in private and in his reviews. It wasn't only just a good reminder of how fundamentally stupid this adventure we were going on was, but it also grounded me. "It's just a kids' show" became sort of an operating credo, the enduring refrain of every review I wrote, and kept me in check when I was prone to excessive pretentiousness. I started this whole Who thing to accomplish two goals: the first was to entertain others (although I never figured this to explode into the thing it eventually became), and the second was to be honest. I hated Who, a lot, a truly disturbing amount, when I first started this thread; that all being said, I didn't want this thread to be a hatefest from beginning to end. It's not entertaining and I didn't want to be someone like The Angry Video Game Nerd or The Nostalgia Critic or Yahtzee, internet reviewers who've monetized anger and, in the process, removed all sense of legitimacy they have. I wanted my hatred to still mean something, which is why that starting with the third epsiode I was giving out B's. This was never meant to be a hatewatch; it was always intended to give this show a fair shake. And, if I'm being honest, I think I've done that; I may not (some word argue certainly not) have always been right, but I can't think of a time where I ever presented a disingenuous, overstated, or falsified opinion. Through it, though, I've changed. Pull up the first review I ever wrote right now, for Doctor Who episode 101, "Rose". If you compare it directly to the review you're reading right now, my writing style has shifted, improved. Even when stripping out the episode summaries, my wordcount has ballooned. The tone of my reviews has changed; I've shifted from a steam-of-consciousness, purely reactive style of writing to one that's far more structured. I now outline my reviews before I write them; as a result, they take much, much longer to write. The level of care I put into each of these writeups has vastly increased over time, and, not to toot my own horn, I feel like that's reflected in their increased quality. Oxxidation, who always operated as my editor in some capacity, has become much more aggressive and specific in his criticisms, to the point where I now go through multiple drafts of each post before I post them. In essence, I've taken this project more and more seriously as it has progressed, where now I almost regard it as a job. All this has a downside, however. Not only has my writing changed, but the way I engage with television has changed as well. I can actually feel the change in my brain chemistry; the way I look at television, the way I think about and react to it, is completely different from what it was a year ago. Anyone who has read my other posts in TVIV - and to those people. I pre-emptively apologize - know that I'm, to put it very nicely, incredibly "opinionated" about TV. My thoughts pertaining to television have always centered around analysis and criticism, but this thread gave me the opportunity to express my thoughts in a way that's grammatically and intellectually coherent over the misspelled, sentence fragment-filled, disassociated, intentionally vitriolic rambling I use otherwise. But centering so much of my time (over a year at this point!) dissecting television has reflected on the way I view it. Although thinking about stuff like metanarrative, or thematic coherency, or tone changes, or sloppy writing has always been extant in my mind before, it dominates my mind whenever perusing any artistic media, especially when it's televised. I can't watch a show of any type nowadays - let alone Doctor Who - without grading it in my head, constantly. Like...the "television critic" portion of my brain, which I didn't even know existed before this thread, turned out to be some sort of dead man's switch where once I flipped it on I can't turn it off. No matter what show I'm watching, I'm analyzing it, always one step removed from the surface-level, purely emotional interaction with the piece that it is going for. On one hand, that's fantastic; I can now appreciate great shows on a totally different level than I did before. Stuff like the quiet satisfaction that comes from noticing a well-written background character with a complete arc, or especially potent symbolism that makes the episode in question feel layered. And, it helps me understand why I like effective television, why I think effective television can be and is good, over what the effective television in question is. But on the other hand I have been concerned, increasingly since I've started, that my internal standard for excellence has raised so high that nothing could ever reach it, much less a show like Doctor Who. I'm worried that I've stumbled into being yet another AVGN, or Yahtzee, or Nostalgia Critic, yet another internet critic who takes minor issues with artistic works and blows them out of proportion, to the delight of the grinning, slavering masses to whom negativity is a competition with no real winners. Worse off, I don't even have the defense that those three do of my project being a capitalistic endeavor; on some level, the manufactured anger those men possess is just that- manufactured. The whole shtick that they have is falsified, created solely to sell a product - which, although itself cynical, has a certain mercenary honesty to it that makes it more tolerable. In my case, it would simply be a matter of having disappeared up my own rear end in a top hat so far that all my perspective is lost. I would have backed in to being a pretentious douchebag. Which highlights my fundamental struggle with "Mummy on the Orient Express". I remember, when I was discussing this episode with Oxx trying to figure out what I would write about it, he said (paraphrasing) "Okay, but I just want you to keep in mind that I consider this episode pretty much perfect given its context". And I realized, then, that Oxx was able to hold opinions about episodes that I couldn't, not any more. I can't view an episode on the superficial level that he still, apparently, can. To be clear, this isn't some backhanded insult or something; I'm genuinely envious of the fact that Oxx can just view TV at face value, accept what's happening. I really wish I still had that ability, to turn my brain off or at least be able to view something without endlessly analyzing it as I'm watching. It limits my options for what I can view; I can't watch shows like The Walking Dead any more because it, and others in its ilk, is a show that only works in its immediacy. The moment you think about what you're watching is the moment a show like TWD collapses. I want to love "Mummy on the Orient Express" so badly. As Oxx said, it's pretty much perfect Who. On nearly every level, it accomplishes its aims. The overarching narrative that writer Jamie Mathieson attempts to tell in "Mummy", about how the events of "Kill the Moon" have affected Clara and The Doctor's relationship, is supremely well implemented. "Mummy" is a great episode that deals directly with how The Doctor is viewed, and how toxic his interactions with Clara has become. Clara's sub-plot with Maisie (Daisy Beaumont) highlights that; as Maisie notes, the world would certainly be a whole lot easier if everyone only liked who they were supposed to. The constant refrain of "Mummy" is how both Clara and The Doctor are in a doomed and regressively co-dependent relationship; The Doctor essentially lures Clara onboard for one last hurrah of an adventure. But he clearly knows all along (even before it's confirmed near the climax) that there's something wrong the train, turning the party-like holiday that the trip is ostensibly supposed to be into a Clara trap, something to sway her back to travelling with The Doctor. And on Clara's part, she knows full well at virtually every stage of "Mummy" the transparently obvious nature of the trick, but still willingly falls for it anyways. A big theme of "Mummy" is the destructive nature of obligation and addiction; the addicted obligation that Clara and The Doctor have for each other, the obligation Maisie had to her grandma. Heck, even the monster of "Mummy", the Foretold, is a vampire soldier forced to fight a war long since done. The symbolism is blatantly obvious; not only is the Foretold a huge Doctor stand-in, but he personifies how your desires and needs destroy and change you over time. The problem with Clara and The Doctor is made all the worse by the implementation of Perkins (Frank Skinner) in "Mummy", who operates as as possible successor to Clara. Tough, smart, level-headed, and clever in his own right, he sees the way The Doctor acts and wants no part of it, politely rejecting The Doctor's offer to come aboard. It emphasizes to the audience how necessary Clara is to The Doctor, because she's the only option for a Companion he has, and as I've noted numerous times The Doctor always needs a Companion. Twelve's specific neuroses and abusive treatment of others makes it so Clara is both the best and only possible candidate for the job, forcing the two in a mutually destructive spiral. "Mummy" does so much else right, not just on the thematic level. The acting is all really above par this episode, with three episode-specific major characters who all feel fully fleshed out and real. The writing is also top-notch; Mathieson turned in a brilliant script this episode. "Mummy", as well, moves, with the "66 seconds until death" conceit narratively engaging and sold honestly. The onscreen timer also impresses upon the audience the urgent nature of the threat of the Foretold, who looks genuinely frightening as well when onscreen. The setting is fantastic, with the reveal mid-episode of the space-train locked door murder-mystery (already a conceit that could've carried an episode by itself) being a scientific study one that's sold very, very well. There's basically nothing that this episode does wrong. The script has perfect flow, with each scene building into the next without any real hitches or rough patches. It all coalesces into a runaway train (sorry) of a plot that hits every point it needs to from beginning to end, from opening scene to climax and denouement. Speaking of, the denouement of "Mummy" is particularly fantastic, with Clara lying to both Danny and The Doctor, insisting to the former that she's done and the latter that Danny was the one preventing her from travelling with him. Yet another example of Clara's obligations, and addictions ruining her. But what bugs me about "Mummy" is the shortened timeframe in which it resolves the entirety of the Doctor/Clara conflict from "Kill the Moon". It's something that I keep going back to - if the show wanted to honor the stakes of Clara's blowup from "Kill", then that plot point was one that needed to be addressed over a number of episodes, not just one. The neat, pat sort of resolution to the Doctor/Clara conflict, even though it's explicitly shown to be a negative resolution, is one that feels really authored, like Mathieson had a directive from Moffat to fix the "Kill the Moon" thing in one script (which, according to Oxx, he actually did). And that, too, flows back through the way the episode divides Clara and The Doctor. Clara's subplot with Maisie is great, but viewed from the perspective of the author of this script needing her to come to terms with getting over her anger with The Doctor it makes the whole thing feel slightly forced. But it's only forced because I'm specifically looking for it. That's what frustrates me about how I view "Mummy"; I'm worried it's the start of a trend where I'm getting more and more abstract and needlessly critical of what's, again, just a TV show. Not only that, but a British, publicly-funded TV show for children. Every artistic work has flaws, and this is as near flawless an episode of Who as you can realistically get. I'm concerned that my obsession and singular focus on the way it addresses the Clara thing is a reflection in my loss of subjectivity, my inability to perceive an episode and let it just wash over me, in the way that Oxx still can. I'm so focused on finding niggles, on finding strings and narrative flaws that are always present in every story every told that I'm creating new ones out of thin air, and unnecessarily magnifying tiny cracks. My methodology for why the Clara thing is such a big issue for me makes sense in my head - it's a big issue that required more focus stretched out over a longer period of time, and its intense focus that was contained within a single episode both sold out its stakes and led to such weird plot issues like The Doctor seemingly not giving a gently caress that Clara's locked in a room for the majority of the episode - but that's the whole point, right? Of course it would make sense, because I've lost all internal perspective on whether something is a serious issue or one that I've cooked up as "serious" because that's how I view television now. Worse, still, is the idea the concept that I approach the show from an inherently negative perspective over an inherently neutral one, like I should be - I'm not honestly assessing its strengths and weaknesses, but looking for flaws. And this problem is made worse because I'm concerned, at the same time that I'm unduly focusing on minor issues, that my self-doubt has now crept in and I'm overcorrecting. That my problem with how Clara's problem with The Doctor is addressed is actually both fair and just, and not only that but I'd be remiss not to point it out. But I just don't know why I don't really much like an episode that, for all intents and purposes, I should absolutely love. So, yeah, "Mummy" gets an A, because it's great, and I want to love it so much. But I don't, not really, and the fact that I don't is rooted in what's, on the balance, a minor issue with how it addresses serialization. The fact that I don't though - it worries me. That "Don't Stop Me Now" cover was pretty god-drat loving fantastic, though. Grade: A Random Thoughts:
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Aug 11, 2015 04:18
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WHERE ART THOU RANDOM THOUGHTS MICHAEL?
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Aug 11, 2015 04:26
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https://en.wikipedia.org/wiki/Flatline_%28Doctor_Who%29 In which we ask: 2D or not 2D? - Oxxidation
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Aug 11, 2015 05:05
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Aug 11, 2015 05:10
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This is the best episode of the season and I will fight you if you disagree.
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Aug 11, 2015 06:01
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This is one of the best episodes of the show and I will fight you if you disagree.
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Aug 11, 2015 06:20
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Yeah, Mummy on the Orient Express is great, but Flatline is CLASSIC. It's one of the most effectively terrifying episodes while at the same time often really funny, like when it uses the shrunken TARDIS to have an actual hammerspace moment, and of course the Addams family homage thing. And I like how the graffiti artist kid tries to make a heroic sacrifice and Clara's like NO THAT'S STUPID YOU DON'T HAVE TO DIE. And then of course the Doctor has that amazing speech at the end. Flatline does what not a lot of Doctor Who stories actually do, at least not in a straightforward way. It engages in speculative fiction, and minus the Doctor could easily be a classic short story from the 1950's/60's, one of those "meeting the unknown" type of things. It also demonstrates the Twelfth Doctor's scientific orientation very well, as well as why Clara is such a good companion for him while at the same time traveling with him may be messing her up in important ways.
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Aug 11, 2015 06:35
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"The Boneless" is a pretty crap name though.
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Aug 11, 2015 06:45
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Mummy on the Orient Express It's a loving mummy on a space train full of geniuses and Clara dresses like a flapper. Not loving this episode is a hate crime. A 2house2fly Alkarl And More AndwhatIseeisme Attitude Indicator Barometz blasmeister Bown BSam cargohills death .cab for qt DetoxP ewe2 fatherboxx Gandalf21 Grouchio Howe_sam jng2058 JoltSpree Jsor LabyaMynora Lipset and Rock On MikeJF Mo0 Ohtsam onetruepurple Organza Quiz Paul.Power Rat Flavoured Rats Sinestro thexerox123 Weird Sandwich B Andrew_1985 Colonel Cool DoctorWhat Senerio Xenoborg C Bicyclops Labratio D is for Dummies, of which there were none. F egon_beeblebrox Overall Average Guess: A. The highest-rated episode so far this season, on average, and it deserves it. Current rankings: Lipset and Rock On: 4 Attitude Indicator: 5 fatherboxx: 5 blasmeister: 6 Labratio: 6 MikeJF: 6 thexerox123: 6 2house2fly: 7 DoctorWhat: 7 Gandalf21: 7 Howe_sam: 7 jng2058: 7 onetruepurple: 7 Alkarl: 8 AndwhatIseeisme: 8 Bown: 8 DetoxP: 8 Ohtsam: 8 Paul.Power: 8 Sinestro: 8 Barometz: 9 Bicyclops: 9 Grouchio: 9 Organza Quiz: 9 Senerio: 9 Weird Sandwich: 9 Xenoborg: 9 cargohills: 10 LabyaMynora: 10 Mo0: 10 Rat Flavoured Rats: 10 Andrew_1985: 11 Colonel Cool: 11 death .cab for qt: 11 JoltSpree: 11 Jsor: 11 And More: 12 BSam: 12 ewe2: 12 egon_beeblebrox: 16 And Lipset and Rock On pulls into the solo lead, as Labratio takes a tumble from a disastrous wrong guess on this episode. Alas, we must accept that it is statistically VERY unlikely that any of the folks with ten or more points will be able to come back at this point; we salute you and thank you for your service (which consisted of sending me an e-mail) and bid you a fond farewell, because you ain't winning this poo poo. All the five- and six-point folks are still in the running, though, so we've still got a lot of strong contenders.
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Aug 11, 2015 06:52
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Flatline is so loving great. Also don't worry Occ your criticism is based on a misconception anyway, all is well!!!!
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Aug 11, 2015 07:16
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Toxx, I'd say that while your views from episode to episode and how those affect the season to date are valid, it is important to not prejudge until you have the whole picture after seeing the entire season. I think that is why your write-ups on your thoughts on each season as a whole are so useful, because with the benefit of hindsight you can talk about what worked, what didn't etc. Only one episode for Clara to shift from,"GO AWAY FOREVER DOCTOR!" to,"LET'S TRAVEL TOGETHER FOREVER DOCTOR!" is an extremely rapid change, and you shouldn't dismiss that criticism because it is entirely valid, I just wouldn't let thoughts on the season as a whole get too cemented until you have seen everything, because then you risk going into future episodes already looking out for things to focus on instead of letting the episode just come to you as it is, and then stepping back when it is all done to get a look at the bigger picture. I hope that makes some kind of sense. Edit: And yeah, Mummy is a great episode so the fact it's not the best story Mathieson does this season is mindblowing. Jerusalem fucked around with this message at 09:12 on Aug 11, 2015 |
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Aug 11, 2015 09:08
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Jerusalem posted:Toxx, I'd say that while your views from episode to episode and how those affect the season to date are valid, it is important to not prejudge until you have the whole picture after seeing the entire season. I think that is why your write-ups on your thoughts on each season as a whole are so useful, because with the benefit of hindsight you can talk about what worked, what didn't etc. Only one episode for Clara to shift from,"GO AWAY FOREVER DOCTOR!" to,"LET'S TRAVEL TOGETHER FOREVER DOCTOR!" is an extremely rapid change, and you shouldn't dismiss that criticism because it is entirely valid, I just wouldn't let thoughts on the season as a whole get too cemented until you have seen everything, because then you risk going into future episodes already looking out for things to focus on instead of letting the episode just come to you as it is, and then stepping back when it is all done to get a look at the bigger picture. In fact, in the main thread, a bunch of people said the exact same thing when the episode aired. That it was great, but the whole thing between The Doctor and Clara getting resolved so quickly was really blah. Linear Zoetrope fucked around with this message at 09:29 on Aug 11, 2015 |
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Aug 11, 2015 09:16
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As a counterpoint. I think Clara being mad at the doctor for long would have gotten boring and even more forced very quickly and I'm glad it only took one episode
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Aug 11, 2015 09:31
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Jerusalem posted:Toxx, I'd say that while your views from episode to episode and how those affect the season to date are valid, it is important to not prejudge until you have the whole picture after seeing the entire season. I think that is why your write-ups on your thoughts on each season as a whole are so useful, because with the benefit of hindsight you can talk about what worked, what didn't etc. Only one episode for Clara to shift from,"GO AWAY FOREVER DOCTOR!" to,"LET'S TRAVEL TOGETHER FOREVER DOCTOR!" is an extremely rapid change, and you shouldn't dismiss that criticism because it is entirely valid, I just wouldn't let thoughts on the season as a whole get too cemented until you have seen everything, because then you risk going into future episodes already looking out for things to focus on instead of letting the episode just come to you as it is, and then stepping back when it is all done to get a look at the bigger picture. I've noticed in past that Toxx has a bit of a tendency to make assumptions about the future or how he should interpret things that haven't solidified yet, and then criticise on the basis of those assumptions.
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Aug 11, 2015 09:34
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I have also noticed this. I don't think it's totally invalid because TV is episodic after all, but totally agree with you and Jerusalem.
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Aug 11, 2015 09:51
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I don't know if there is a better "one-two punch" than Mummy on the Orient Express/Flatline.* (*not counting two-parters/finales**) (**and they're better than some of those)
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Aug 11, 2015 10:05
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MikeJF posted:I've noticed in past that Toxx has a bit of a tendency to make assumptions about the future or how he should interpret things that haven't solidified yet, and then criticise on the basis of those assumptions. I think that's why he disliked Turn Left so much, for one thing. Because it didn't 'count'.
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Aug 11, 2015 11:27
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CobiWann posted:I don't know if there is a better "one-two punch" than Mummy on the Orient Express/Flatline.* They worked so wonderfully at taking the sour taste of Kill the Moon out of our mouths. 
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Aug 11, 2015 12:07
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He does this for every single show I've seen him type something about. Stop assuming that just because characters act one way in an episode that you know the whole story and that that character arc is resolved. You have four more episodes in this season that might further explore a concept you think is done with. It isn't the episode's fault you jump to conclusions about conclusions so easily.
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Aug 11, 2015 17:23
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Random Thoughts: I hope Jamie Mathieson writes another episode. Oh look, he did. And that one was brilliant as well. Flatline has both some of the funniest and most unsettling bits of the whole series I think. Maybe of the whole revival.
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Aug 11, 2015 22:37
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McDragon posted:Flatline has both some of the funniest and most unsettling bits of the whole series I think. Maybe of the whole revival. The bit where they realize what the painting of the tree is.... Jesus  Happily, then you've got stuff like this alongside it: 
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Aug 11, 2015 22:57
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Mummy and Flatline are two of the best episodes in the entire revival, and I will fight over this.
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Aug 12, 2015 03:56
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legoman727 posted:Mummy and Flatline are two of the best episodes in the entire revival, and I will fight over this. Fight who? Who could disagre- oh right, Ten/Rose shippers exist.
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Aug 12, 2015 06:06
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Enourmo posted:Fight who? Who could disagre- oh right, Ten/Rose shippers exist. I thought "shipping" was about stuff that wasn't explicitly in the actual product. Anyway- Two Peters, two Bakers, McC and McG, Pat 'n Matt, Hurt & Pert, Hurn or Hart, and an Ecclestennant are all good Doctors. Deal with it. Also Mummy and Flatline are quite good episodes of the Dr. Who programme.
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Aug 12, 2015 06:17
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McDragon posted:Random Thoughts: I hope Jamie Mathieson writes another episode. toot toot, he's cowrote another one with Moffat for Series 9. GET HYPE. also let me tell you I am so glad the show is done with shipping, with the Doctor as the sexy romantic figure. My sister's like I DON'T LIKE THAT THE DOCTOR'S AN OLD MAN NOW. And I'm like 
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Aug 12, 2015 07:11
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ThaGhettoJew posted:I thought "shipping" was about stuff that wasn't explicitly in the actual product. Anyway- Two Peters, two Bakers, McC and McG, Pat 'n Matt, Hurt & Pert, Hurn or Hart, and an Ecclestennant are all good Doctors. Deal with it. you dont understand they view it as a well written romance and are sad that its over
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Aug 12, 2015 07:37
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Enourmo posted:you dont understand How can it be over when the ...Nope. Still really creeping me out. Rusty! 
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Aug 12, 2015 07:45
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McDragon posted:Random Thoughts: I hope Jamie Mathieson writes another episode. He's cowriting one with Moffat for the new season as well and luckily the writer of Kill the Moon is writing three all by himself! Lucky us.
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Aug 12, 2015 11:53
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Flatline was a great episode, made all the better for sounding really stupid as a premise ("Two-dimension aliens invade our universe, causing the TARDIS to shrink!") and then turning out to be genuinely creepy and unsettling. The only things wrong with it were that yep, "the Boneless" is a terrible name, and  the Class 117 diesel multiple unit seen in the episode was retired from mainline service in 2000 and was in British Railways green livery to boot.
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Aug 12, 2015 14:10
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| # ? Apr 19, 2024 22:06 |
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https://www.youtube.com/watch?v=tInDH2FeXaM
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Aug 12, 2015 14:13
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