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Irish Joe posted:Also read the 1000 page novelization of Jubilee, which bridges the gap between the radio version and the show version of Dalek. Irish Joe, just to clarify: I'm not saying that any plot points are "excused" or "explained" by the radio plays. This isn't a "idiot, they didn't ride the eagles to Mordor because of this line from The Silmarillion" situation. From an entertainment/story cohesion perspective, the audios don't really change the experience of watching the TV series. However, from a critical and (pseudo)academic perspective, "what Doctor Who was like between 1990 and 2004" has a lot of value for analysis and criticism.
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Aug 9, 2014 01:44
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DoctorWhat posted:Irish Joe, just to clarify I'm not saying that any plot points are "excused" or "explained" by the radio plays. From an entertainment perspective the audios don't really change the experience of watching the TV series. I am going to shove you into a locker and make the TARDIS noise outside of the locker and laugh when the locker does not take you on a journey through time but only through claustrophobic sadness.
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Aug 9, 2014 01:46
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That's probably fair.
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Aug 9, 2014 01:47
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DoctorWhat posted:I'm not saying that any plot points are "excused" or "explained" by the radio plays. This isn't a "idiot, they didn't ride the eagles to Mordor because of this line from The Silmarillion" situation. The line that explains why they don't ride the eagles to Mordor is in The Lord of the Rings 
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Aug 9, 2014 01:51
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MrL_JaKiri posted:The line that explains why they don't ride the eagles to Mordor is in The Lord of the Rings Is it? Well then substitute any other famous media plot-hole with some "expanded universe" explanation that nobody cares about. In any case, I assumed LotR fans have an (unnecessary) answer to that one. (Other than the actual answer, which is "because then there wouldn't be a story, dipshit!")
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Aug 9, 2014 01:53
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MrL_JaKiri posted:The line that explains why they don't ride the eagles to Mordor is in The Lord of the Rings Nooooo you fell right into his nerd trap!
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Aug 9, 2014 02:11
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Oxxidation posted:
(Spoilers from later on in S1) To be fair though, even in this season this wasn't the only Dalek portrayed. RTD would have hosed it up even if this was the only season of nuWho.
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Aug 9, 2014 02:56
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I suppose one good thing about Last Man Standing is that it doesn't have fans to ruin the toxx thread. I mean I agree with the audio play thing, but also completely understand you not wanting to go there occ, but everyone else, you can't even not spoil Mickey coming back, there are two other threads for all the Doctor bullshit, let's not ruin this one too.
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Aug 9, 2014 04:23
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DoctorWhat, please just give it up, oh my god
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Aug 9, 2014 11:15
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Boy, if he thinks the Dalek looks ridiculous now, he's gonna laugh his rear end off when in the finale there's a 60 foot Dalek marching all over "Swingin' 60's London". I mean, I know the CGI wouldn't have held up but they were very brave to use practical effects for that scene. And when The Doctor flies an old Spitfire with cables attached in order to trip the Dalek, but it just levitates over the cables boy that just looks ridiculous.* counter-spoiler operation to dilute the ACTUAL spoilers...or future Big Finish plot points revealed?
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Aug 9, 2014 15:21
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MrL_JaKiri posted:You've not seen all the posts talking about future characters, "foreshadowing", and "WOO I HOPE HE WATCHES THIS EPISODE WHAT I LIKE/DON'T LIKE"? Interesting. Huh, it's probably my fault - I really only skim everyone else's (except the reviews, I mean) posts, but I honestly hadn't noticed much of it. I think you might be overreacting a bit to what's in that spoiler, too - we're people who know the context, but to anyone else it really gives absolutely nothing away about anything. But your point remains, it really didn't fit the theme of the thread, I do see that. And with that, I'll slink back into lurker town because while this thread is enjoyable to read, it's a minefield to participate! edit: Damnit, I didn't mean to double post, swear.
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Aug 9, 2014 15:26
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Add new rule to the OP: users with an avatar depicting or a name containing any reference to an actor who has portrayed the Doctor cannot post in this thread. Because they are all literally the worst.
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Aug 9, 2014 15:34
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First Bass posted:Add new rule to the OP: users with an avatar depicting or a name containing any reference to an actor who has portrayed the Doctor cannot post in this thread. Because they are all literally the worst. drat, there go my plans for an Elephant Man avatar
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Aug 9, 2014 18:16
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Someone would buy all the mods and admins Tennant avs and this thread would descend into chaos.
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Aug 9, 2014 18:51
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First Bass posted:Add new rule to the OP: users with an avatar depicting or a name containing any reference to an actor who has portrayed the Doctor cannot post in this thread. Because they are all literally the worst. Suck it down, yo
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Aug 9, 2014 20:21
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Doctor Who "The Long Game" Series 1, Episode 7 I've been meaning to explain further why I don't like genre television, and this episode in particular is an especially relevant time to have that discussion, so here we go. I don't like genre television because, to me, it's largely a type of television that allows for lazy writing. When, as a television writer, you work in a genre way in the future or far in the past, especially during the Middle Ages, it allows for narrative contrivances to be resolved with figurative or literal magic. As the old saying goees, any sufficiently advanced technology is indistinguishable from magic, and nowhere is that more true than in genre fiction, especially genre television. Once you cross that particular line- of having a specific plot hole solved via some techno/magic item- it's impossible to go back. In the case of Doctor Who, specifically the reboot I am now watching and reviewing, nowhere is that more true than with the Sonic Screwdriver. It's a problematic narrative crutch that, quite frankly, should not have been ever introduced- it seems capable of manipulating all electronic items and most devices in general, but the parameters of the Sonic Screwdriver's abilities are so vague even beyond that I'm still somewhat surprised when The Doctor encounters a problem he cannot simply Screwdriver his way out of. This is, quite simply, bad storytelling. It's impossible to figure out when a plot obstacle should be treated as having real stakes or not, because it's impossible to discern whether or not The Doctor will encounter real trouble with it or simply spend the two seconds waving his Screwdriver around and solving it. It makes the entire show feel like a crapshoot since it can never engender proper narrative tension, since the stakes are so ill-defined. And again, the only reason Doctor Who is able to get away with this poo poo is because it's genre television. This is not a problem that's solely the domain of DW, this is endemic to the entire field of genre television, and it's a massive one that cannot simply be papered over. Once you introduce an in-universe explanation to easily write yourself out of plot issues- to essentially create a hole in the wall above the corner you painted yourself in (wow that analogy is tortured) -people are going to use it, because people are by and large lazy and will go for the easy solution most of the time. More importantly than even the confusion over narrative stakes as to why I don't like genre television is the fact that most genre television is solely focused on plot over character. To me, this is the main reason I really don't like genre works- it focuses solely on creating this alien/fantasy world with all of these alien, whether figurative or literal, characters but in so doing forget to focus on the dimensionalizing the characters at all. To me, this is the most upsetting because most genre television gets so caught up in their narrative conceits, assuming that what they are doing is so revolutionary and daring that they forget that, as a general rule, all stories have been told. Even further than that, most stories follow the same basic plot template, whether you believe in things like the Monomyth or not, so as a general rule all stories are largely the same. There's a beginning, a middle, and an end; a setting, a rising action, a climax, a falling action, and a finale. Most genre fiction writers assume that their stories are somehow unique and interesting because of the fact that they involve the Gleepglops of Rigon VI or King Blahblooh of the land of Duppadooh, while ignoring that fundamentally what they have done is taken a rather simple story and turned it five degrees to the right or left, that they've subbed out "Tom and Dick fight over Betty" with names involving far more X's than is necessary. They ignore that simple fact, focus on creating a world and forget to staff it with believable, relatable, deep characters, which is fundamentally why people peruse fiction- to create an emotional connection with the protagonists, or antagonists, or whatever. Let's use a recent example to clarify what I mean. When you look at "Dalek", an episode of television I greatly enjoyed, the episode essentially boils down to "Pinocchio with a twist". The plot of "Dalek" is no great shakes, not the reason most come to that episode of television. It is purely secondary, which is quite frankly how it should be. This trend of genre fiction to focus on worldbuilding and plot over character is all the more disappointing because of all the types of fiction, genre fiction should be the most relatable. By cloaking itself in the sheen of removing it from the "real" world, genre fiction writers could, if they wanted to, tell the most human stories of all, by exposing a greater truth via the bounds of symbolism. By shifting the world five degrees to the left or right, these writers could dimensionalize their alien characters in a way that illustrates a greater truth about the human condition. To again use as comparison the episode "Dalek", the reason why that episode works is not its overall plot, it's the fact that it leverages that plot to expose the underlying darkness and conflicted pain of The Doctor, of showing the pitiful existence and worldview of the last of the Dalek race. It's not what happens throughout- it's why, and the episode's ability to use symbolism (even if it is overt) to illustrate the closeness of character between The Doctor and the last Dalek. By informing the audience throughout the episode of who and what the Dalek and The Doctor are, and how they're similar and different, Doctor Who creates a genuinely engaging episode of television by forcing the audience to emotionally connect with these two characters. This is all an incredibly, incredibly long-winded way of saying that "The Long Game" approaches genre storytelling from the exact opposite perspective, and is in my opinion all the worse for it, especially in comparison. The episode begins with the trio of The Doctor, Rose, and Adam landing on a space station in the year 200,000, during the Fourth Great Human Empire. The space station turns out to be a hub for the news corp Channel Five, which provides news throughout the known human universe. There's a bunch of technobabble throughout the episode- it seems like journalists now receive their information via a spike implant in their head that allows them to collect and disseminate all known news throughout the Empire, a massive torrent of information that necessitates a Matrix-like method to comprehend any of it. There's other stuff throughout the episode, with the journalists the trio meets (everyone they meet is a journalist; the amount of news that is generated on a daily basis makes it so that the entire station is populated by journalist) trying desperately to get promoted to the 500th floor, which is the domain of the Editor (Simon Pegg). Unfortunately it turns out that the Editor is working for the "Editor-in-Chief", who turns out to be a massive alien creature manipulating the news cycle to stall the advancement of the human race as a whole, to essentially enslave and placate them via control of information. Of course, The Doctor and Rose figure all of this out and with the assistance of a friendly black lady journalist are able to kill the Editor-in-Chief and get humanity's progression back on track. The problem with this entire plot is that it's one giant, kind of poorly written, analogy for the control of cable news over our international psyche. The Editor-in-Chief is clearly meant to be an analogy to Rupert Murdoch and Channel Five to News Corp in general, and the entire episode is one huge object lesson in the dangers of relying on news media, with the constant bleating about the human race being "enslaved sheep" content to never question anything out of pure, lazy inertia. This is my issue with the episode as a whole: in attempting to tell its plot and establish its world, characterization goes purely out the window. Every secondary character that The Doctor or Rose meets throughout the episode is one-note and flat, with the possible exception of the Editor, but I suspect that is mostly due to the fact that Simon Pegg is such an electric, interesting actor, not that The Editor is especially well-written. There's just no real meat there, since if you're at all intelligent as an audience member you'll figure out the "big twist" about halfway through and are merely watching to see the plot play out. This is what I mean when I say I don't like genre television; this is some genre as gently caress genre television, very satisfied with the in its mind revolutionary and interesting plot when, in fact, it merely checks off every cliche in the book. That's not to say the plot is bad; it's merely predictable, but the special effects are good (especially the reveal of the Editor-in-Chief as essentially a reverse Sarlacc pit) and Simon Pegg, as our direct antagonist, since the Editor-in-Chief only communicates in snarls the Editor can understand, does a great job as a mustache-twirlingly evil villain, but beyond that there's just not much there. It's not a bad episode of television, I found it palatable, but that's really it: I have no desire to watch it again, because everyone involved acts within their established character or has no real character whatsoever. Like...there's a whole subplot involving a major secondary character being revealed to be a freedom fighter who had been spying on Channel Five to expose corporate malfeasance on the part of manipulation of the news that never really goes anywhere because I didn't especially care about her character in the slightest. And beyond that, B-plot involving Adam essentially duping The Doctor and Rose so he can go off and gather all the history of the human race in order to Back to the Future Part II the year 2012 is kind of interesting, even if it never really goes anywhere. Adam is an interesting character played well, immediately seeing the angle he can manipulate by travelling into the distant future and attempting to leverage that own information for his own ends. Unfortunately, this ends by The Doctor, of course, finding out and marooning Adam back at his house, which is all the more the shame because Adam is the Companion I want Rose to be: intelligent, proactive, and independent, willing to act in his own self-interest over mooning over The Doctor all day. Adam's heel-turn to attempting to broadcast all the information he learns to the past for his own ends is portrayed as downright evil within the story, when it's at worst kind of an rear end in a top hat thing to do that's at least somewhat logical- and is at best arguably unethical, considering The Doctor fucks with the development of human history all the time and it's presented as completely, utterly noble. It's just a disappointing end to a really interesting character, especially since they inexplicably built up Adam as a really great, selfless guy in the previous episode only to have him suddenly be lying and manipulative for his own greedy ends by the next. Again, I really don't know what to feel about this episode. It just doesn't seem like an episode written at all for me, someone who doesn't like straight genre fiction at all because I can't establish an emotional connection with the characters at all. I gain no purchase, no sense of fulfillment from episodes like this, so even though I objectively notice that this episode is well-shot and at least moderately well-written, the episode as a whole does nothing for me. A shame, because it's not bad; I've definitely seen worse. It's just...nothing. A nothing episode. Grade: C Random Thoughts:
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Aug 9, 2014 20:56
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According to Davies, the point of the Adam stuff was not specifically to endorse the Doctor/Rose romance, but to enforce the idea that not everyone is "cut out" to be a companion - and that Rose is. You're still free to gag at that, but it's not primarily a romance thing. Generally, "The Long Game" is the episode everyone kinda forgets about when they're going over this season, anyway. It's definitely the closest the season comes to a "nothing" episode.
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Aug 9, 2014 21:00
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Yeah, all I remembered from this episode was that Adam left. I assumed that next would be some other episode in the season.
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Aug 9, 2014 21:11
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For my money this is one of the best episodes of the first season. The setting's fun and I think the plot is pretty clever and enjoyable sci-fi. I vaguely remember Rose being more fun than normal in it, Eccleston has fun with the material, and Simon Pegg is great. The aesthetics of the monster's lair are really cool and ominous, too, all those frozen plugged-in corpses is a very spooky visual. I don't like it for any deep reason, but it's just a quite well put-together piece of genre sci-fi, which is largely what you come to Doctor Who for. The show makes persistent attempts at broad arcs and world-shaking revelations that very rarely land, I think - way more so in later seasons - but to me the program's heart has always been episodes like this, where the Doctor jumps into the middle of a bizarre situation somewhere in the far reaches of space and time and has to deal with it.
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Aug 9, 2014 21:30
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Yeah this episode is incredibly boring and mediocre.
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Aug 9, 2014 21:32
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Doctor Who "The Long Game" Series 1, Episode 7 This one's a bit middle of the road. A bit light-n-fluffy. A bit air-popped with no butter. Still has some things to recommend it, though. Occ and everyone else with a functioning frontal lobe has already recognized the basic allegory of the plot; civilization is being artificially constrained by a greedy, monopolizing news network, headed by the Editor (Simon Pegg) and his monstrous boss "Max" (Rupert Murdoch with a prosthetic nose). What follows is a lot of frantic exposition and running, followed by an explosion. Standard fare. But the frozen morgue of Station Floor 500 and the decaying bodies of its "employees" are a nice bit of set dressing, and Pegg's performance is as lively and fun as you'd expect from him - in particular, the Editor's physical acting is impressive for someone who spends 80% of his screen time with his hands clasped. The other side characters are serviceable; in particular, the way Suki drops her quavering-new-girl act the second the Editor exposes her paramilitary background was convincing and made for an interesting standoff while it lasted. But the real money here lies in Adam's subplot. As already stated, Adam was explicitly written as how you gently caress up being a Companion. Step one: don't have tits. Ha ha, okay, I kid (sort of). But there is a bit of a question left hanging as to why his futuristic wiki-walk was such a deal-breaker, whereas the Doctor's time shenanigans are apparently a-ok in his eyes. I mean, let's disregard the fact that any of the information Adam had gobbled up would, if delivered to his time of origin, have turned the timeline of the Earth and possibly the universe inside-out. Occupation thinks that the changes from such an act could be positive ones, but he's an optimist and an idiot (I repeat myself). The most obvious difference is the Doctor's adventures are usually charitable or even corrective ones, as he subdues threats to large numbers of innocent people and then skedaddles before anyone starts to ask who be should be taking the credit/blame for all these evil-alien corpses lying about. Adam was, by all appearances, in it for the dollars, grabbing onto technology beyond his ken or reach in order to exploit it for personal gain - in that regard, the only thing differentiating him from his old boss was that he didn't have an underground bunker fortress yet. Supplementary materials bring Adam back up and reveal that he really wanted to use the tech to save his ailing father, but hahahaha, supplementary materials. There's also the minor facts - Adam literally gets his skull popped open to make his space-wiki'ing more efficient (I guess the year 200,000 finally gets universal health care, surprised it happened that fast), his actions place the Doctor and Rose in mortal danger, and the little swot has the nerve to deny and try to shift blame when initially called on it. That's more than enough to make the buzzers go off, and honestly, I'm not sad to see him go. I don't like Rose, but Adam's performance was flavorless right from his introduction, and that's one more corner of the potential love triangle chopped off. Not much else to say for this one, really. Doctor Who has a lot of episodes like these, content-light creature-features bridging the gap between the good episodes and the really dire ones. Usually the best one can look forward to with them is some better-than-average performances or setpieces, and Simon Pegg at least hands us the former. I'll close out by responding to one point Occupation raises - to this day, even I have no loving idea how the sonic screwdriver works or what its total list of functions are. The thing is a magic wand. If you're an evil alien, the best you can hope for is to either keep the Doctor's hands tied or build a fortress entirely out of wood. And then still keep the Doctor's hands tied, because he'll probably have brought some matches along.
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Aug 9, 2014 22:00
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E PLURIBUS ANUS posted:I'd really like it if instead of being giant spergy weirdos about things that aren't this episode the thread instead discussed "The Long Game", because as someone who doesn't like this type of storytelling at all I would like to hear fans' opinions on it. Maybe this episode has more impact if you're a fan? Do you like it or not? Do you also consider it mediocre Most of Doctor Who is poo poo, this is not that bad but aggressively dull instead.
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Aug 9, 2014 22:19
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When I read the last review I was wondering who the gently caress Adam was and why he was being referred to as an important character when I didn't remember him. Know I know why I didn't remember him.
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Aug 9, 2014 22:27
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I've watched this season/series 3 times, and I still forgot about this episode. They try to play up some kind of creepiness, but there's not really any payoff. All I remember is Rose trying to impress Adam, and the Doctor fishing for info by acting stupid (which I rather liked). It was quite dull, and no amount of Simon Pegg overacting can redeem it. Seriously, you get Pegg for a show and THAT'S how you use him?
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Aug 10, 2014 00:07
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Was Pegg really a big name back in 2005? I know this was right after Shaun of the Dead, but still.
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Aug 10, 2014 00:16
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I literally do not remember Adam. I 100% know I have watched these episodes, but I do not remember him. And actually I only remember Simon Pegg and something about freezing. This episode is definitely a C episode.
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Aug 10, 2014 00:26
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I really liked this episode when I was first getting into the show, but I rewatched it recently, and it's pretty dumb. It's OK, and I like the Doctor just screwing Adam over at the end. That's pretty funny to me.
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Aug 10, 2014 00:45
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MrAristocrates posted:Was Pegg really a big name back in 2005? I know this was right after Shaun of the Dead, but still. Yeah, Spaced and Shaun of the Dead is basically what made him big.
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Aug 10, 2014 00:50
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MrAristocrates posted:Was Pegg really a big name back in 2005? I know this was right after Shaun of the Dead, but still. Probably bigger in the UK because of Spaced and who knows what else, but I wasn't there back then and I'm hardly a UK expert. Plus he's a huge nerd irl so I imagine when he heard about the Doctor Who reboot he leveraged whatever clout he had to get in on the ground floor, which is a pity because I always thought he was wasted in this ep. He definitely could have made some later episodes a lot more interesting.
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Aug 10, 2014 00:50
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MrAristocrates posted:Was Pegg really a big name back in 2005? I know this was right after Shaun of the Dead, but still. mind the walrus posted:Plus he's a huge nerd irl so I imagine when he heard about the Doctor Who reboot he leveraged whatever clout he had to get in on the ground floor, which is a pity because I always thought he was wasted in this ep. He definitely could have made some later episodes a lot more interesting. Simon Pegg actually had a major role in the (frankly mediocre, even by DW standards) 8th Doctor audio drama Invaders from Mars, released in January of 2002, more than a year before pre-production on the 2005 series was announced. Which just goes to show how the Big Finish audios' cast, crew, writers, and style had a major influence on the development of the New Series. No one has to listen to them, but (much like Buffy and The X Files), their influence on the new series is profound. Other surprising actors who made Big Finish Doctor Who appearances include David Warner (several times, and regularly returning even to this day), Derek Jacobi, Anthony Stewart Head, and some Scottish nerd named "David Tennant". DoctorWhat fucked around with this message at 01:03 on Aug 10, 2014 |
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Aug 10, 2014 00:59
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Big Finish does have the distinction of being as good or better than its source material most of the time, although to be fair that might speak to the quality of said source material more than anything. It's at least better than something like Star Wars where 99% of the EU is Total Garbage. That being said only the gooniest of goons would spend actual moneydollars on Doctor Who radio programs and I advise everyone to steer clear. Obviously this has nothing to do with reboot series 1 so please ignore
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Aug 10, 2014 05:34
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This is definitely the low point for me in this seasons. At least Aliens of London had Big Ben getting a spaceship to the face. This was just... bland.
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Aug 10, 2014 06:10
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Long Game isn't a great episode -- what I mostly remember about it is that all the locals come across as ridiculously naive ("They say the walls are made from GOLD!"  ) in a way that mostly functions as a really broad non-diegetic marker, rather than as world world-building. I always find it interesting that Davies lapses into this kind of diegesis so often, since a lot of his character work in his earlier writing (and even in the show up until this point), is, I'd argue, about undermining the broad strokes that he's painting with. Suffice it to say that I have a very different view on the Nine/Rose relationship than Anus does, based on what we see in Dalek and The Long Game. MikeJF posted:This is definitely the low point for me in this seasons. At least Aliens of London had Big Ben getting a spaceship to the face. Which is such an amazing physical effects shot. They did a whole bunch of those in the first season, but the show doesn't do them any more. Shame.
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Aug 10, 2014 06:40
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I totally forgot this episode existed. I knew Simon Pegg was Simon Pegging around in a frozen news station beneath a giant mouth at some point this season, but completely forgot everything else that happened. Also can we talk about how the Doctor marooning Adam in his original time period is a huge dick move, now that he has a disfiguring piece of magic-space-tech in his forehead. Especially when you consider how easy it is for it to open by accident? Dude's probably gonna be dissected or something.
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Aug 10, 2014 09:17
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DoctorWhat posted:Simon Pegg actually had a major role in the (frankly mediocre, even by DW standards) 8th Doctor audio drama Invaders from Mars, released in January of 2002, more than a year before pre-production on the 2005 series was announced. Having some of the same actors does not mean they're important towards the show's development and is not a good enough reason to bring them up again when multiple people including the threads OP have asked you to stop, just stop talking about audio dramas, stop it, just don't do it anymore.
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Aug 10, 2014 09:33
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DoctorWhat posted:Which just goes to show how the Big Finish audios' cast, crew, writers, and style had a major influence on the development of the New Series. Dude, I love you. You're the exact type of sincere, enthusiast fan I appreciate despite my cynical and bitter exterior. However, you've got to stop talking about Big Finish here and take it back to the regular thread. No one here cares about you promoting them.
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Aug 10, 2014 11:34
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Yeah, I'm done. Big Finish's influence basically disappears after Series 1 anyway. Simon Pegg was the last "major connection". I'm just gonna sit back and read along now. I just find the production history and behind-the-scenes influences fascinating. DoctorWhat fucked around with this message at 11:51 on Aug 10, 2014 |
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Aug 10, 2014 11:38
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DoctorWhat posted:Simon Pegg actually had a major role in the (frankly mediocre, even by DW standards) 8th Doctor audio drama Invaders from Mars, released in January of 2002, more than a year before pre-production on the 2005 series was announced. Jesus christ. "Big Doctor Who nerds work on things that involve Doctor Who" and "Actors work on different things" do not justify you being a huge loving idiot all the time about Big Finish. Yeah, we get that you're a fan. I'm a huge nerd who's listened to a handful of these things and I think you're being insane. If someone was posting about the original run you wouldn't keep talking about Will Any Gentleman?, would you?  And you know what else influenced the new series? The Virgin (ho ho) New Adventures line of books - which also hugely influenced Big Finish because again the same big Doctor Who nerds were writing them - featuring writers like Mark Gatiss, Paul Cornell, Gareth Roberts and Russell T Davies. Yet no-one seems to be incessantly and idiotically parroting about them, do they? (I wonder why,  ) DoctorWhat posted:No one has to listen to them And you don't have to post about them you huge nerd. It's not like Big Finish even influenced the revival that much - RTD had a very clear idea about what he wanted at the core of the series, and it's not the style of thing that Big Finish wrote. [edit] DoctorWhat posted:Simon Pegg was the last "big connection". Hahaha jesus
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Aug 10, 2014 11:44
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oh poo poo that pun wasn't on purpose. That made me seem like an even huger tool than I've already made myself seem. Jesus, I'm peacing out. I've made an rear end of myself, haven't I?
DoctorWhat fucked around with this message at 11:52 on Aug 10, 2014 |
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Aug 10, 2014 11:49
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DoctorWhat posted:oh poo poo that pun wasn't on purpose. That made me seem like an even huger tool than I've already made myself seem. Jesus, I'm peacing out. I've made an rear end of myself, haven't I? Nah man. Who cares at the end of the day? I'd just rather read about Big Finish in a thread that appreciates it and think your wasting your energy here. You're still cool.
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#
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Aug 10, 2014 12:01
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