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Post by Paul McDermott on Dec 27, 2013 4:17:08 GMT
For those of you who bothered to watch the Christmas special, there's some priestess character with make-up across her eyes which more than slightly resembles ........ 16mm film!!! Please say if this was a joke post.... where's Paul McDermott's emoticons when you need him!  Wondering when the "hidden clue in Xmas special" posts would start. Funny stuff, Matt!  So, does the vertical band on Tasha Lem's eyeline signify anything Important? If so, I think only that it's easy to look so deeply into things you imagine what isn't there.  Maybe it was influenced by a film strip. Maybe not. Either way, I don't see how it added much of importance to the ep or the search for more missing ones.  "Doctor who?", we've been hearing a bit of that this year. And perhaps that's worth thinking about, though maybe not in the way intended.  This year alone we've had The Name Of The Doctor. The Night Of The Doctor. The Day Of The Doctor. Now, finally, The Time Of The Doctor. Phew! I thought Rassilon had PR issues.  The only one that was any good ran for less than ten minutes and once again saw McGann too hastily dealt with before resuming his absence from our screens. Did Moffat deliberately do this as a ploy to engineer an out and a Who spinoff for himself we actually want to see, perhaps a co-pro with America, all the while talking up the 8th's romantic cred in press about it? I wonder. Perhaps Series 8 will be called The Key To The Doctor, as the old bloke has lost his memory and we can rediscover what makes him unique, worth watching? It won't happen, even if they gift Capaldi's version with amnesia. If the people making Who this way still can recall the reason, they no longer care and are probably actually dismissive of it.  A Christmas ep, let alone a regeneration story, in the 50th anniversary year, ought to be expected to garner attention from new viewers and casuals.  You want to keep them into the next series.  You don't do that by making an hour of television so inaccessible, even regular viewers aren't too sure what's going on or why save for following the Don't Blink mantra.  Don't Blink? Do me a favour. It's Don't Think. Don't Remember. Don't Ask Questions. Why? Unbeliever!  Doctor "who", indeed! How did we get to this point, what can we expect ahead? It's hard to see this as a win, becoming the show so clever it doesn't need to make any sense.  Consider for a moment if your favourite football team kept turning up to match after match dressed in hockey gear or as a pantomime horse, and then when the match starts, gave out stock quotes whilst square dancing on the pitch. One might wonder if there was any point to this, even if you weren't an obsessive chronicler of matches and club history. Maybe you ask questions about the changes. If the new manager said, this is what people want to see, the gate takings have never been higher, does this make it a good idea?  What are we losing? What are the players losing? It's not just a day out in the open air. It's a particular kind of social activity with a rich tradition, that speaks to and unites many cultures.  Is the memory cheating when we watch old matches on DVD and these really did transfix the nation even though they actually looked and played like football? Ought we see a greater good, as we're told by the new game-runners, in the number of people coming to experience what football is, even if it has no meaningful link to what that once meant? True, not everybody likes football. Or Who as it once was. Or sitcoms. Or soaps. But these differences are valuable, worth keeping. Authenticity is not something to cast blithely aside at the first hint of populism or desperation fueled by a lack of ideas and new blood.  Plainly the decision was made some time ago to stop making Doctor Who in a form that corresponded to what it was generally understood to mean. This divergence is far more removed from the divide between Waris' first innings and say, Timelash. If next season they dispense with the TARDIS, well - look at Season 7! Been there before! And the theme tune? Well, it's a bit over-familiar now, fifty years on. Why not try a year without it? And maybe, following the smash success of an instant interstitial version of the Doctor who refused to call himself thus, we can see our new lead dump it as a name as well. New man, new lease on life, new era. Why not a new name? In which case, do we still need to call the show Doctor Who? At what point is Whoness conceded to have been not merely diminished but actually destroyed, replaced from the inside out like a wasp hatching out of the living body of an unwitting host that dies in incomprehension and agony?  If 2013's last dose is any indication, any and all remaining trimmings now are as much junkable bric-a-brac to the Showsrunner as the substance that was already abandoned as last century's ballast before it returned in '05. The true fan, it seems we're expected to emulate from these offerings, accepts anything given, and proclaims it's all never been better.  Strong female characters? In TTOTD we got horny or soppy, and a tinge of Blowing Stuff Up after a peptalk from a man. Give me Leela any day, even in regular clothes she had more to do than this and she was far from the longest running companion. But of course, that's a blow for feminism and diversity in general, throwing away any and all other kinds of companion but the cutesy poo young white girl from suburban contemporary England. Is there a dearth of such characters on other shows?! The overaccessibility of the Doctor in recent years makes the idea of companion as audience identifier a bit pointless, anyway. And his narrow choices since '05 make him look - how to say this politely - dodgy. Big universe of time and space, almost exclusively present day pretty young things from England? It just reinforces the mistaken idea that Who should be a romance-driven youth-oriented soap with wacky laughs and SFX instead of something more.  The kind of acting, the type of perfomances now showcased on the series, are so flip and hasty, I'm not entirely sure it's the asset it once was for up and comers to land a part on - let alone The Part. It also has inherent and self-forced new and foolish limitations in form for writers and directors, too. Perhaps Matt Smith got tired of that and left for greener pastures? If so, he may have handed his replacement a poisoned chalice.  May the New Year see an overdue revitalization of this venerable and precious show's fortunes, rekindled by a return to those roots of good drama so palpably evident in the newly returned eps that have brought such deserved acclaim for those who made them, and those who returned them to a grateful world to see anew.  |
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Post by Paul McDermott on Dec 27, 2013 4:36:41 GMT
Last night one of my brothers in law who hasn't seen the show sat down and watched it with me. On the one hand, I'm still not used to watching it on BBCA with commercial breaks, but on the other hand that provided opportunities for him to ask me questions about what was happening, who the Daleks and Time Lords were, and what the Time War was about. That really drove home to me that for the episode to have made any sense, you had to have seen almost all of Matt Smith's run. That's a pretty tall order and a heavy burden to put on new viewers who may have been drawn in from the 50th hype. I mean, I sort of expected the anniversary episode to be an exercise in fanwank, but not this. When the show was over, my brother in law asked me if I thought he should have been able to follow everything that happened. I told him no, it moved way too quickly and shoved in way too much stuff. Surprisingly, he said "In that case, I'm willing to give the show another try sometime. Where should I start?" Never seen Who with ad breaks either, but I understand that's standard in New Zealand, too. Like the episodic version of The Five Doctors, it must really break up the flow... Where will you start him off, Matthew? What sort of stuff does he like to watch? Would he tolerate B&W? A sampler of different styles from different eras, with a focus on the sort of material you think would suit him mixed with stuff you think he'd like if he gave it a try, might work.  Be interested to hear any further developments, as they happen! |
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Post by Paul McDermott on Dec 27, 2013 7:38:21 GMT
***Manic stare*** Do you know how fly this thing? Not a bad start. Yes Shelley, it's not bad. He could have completely surprised us and started throttling his companion, but perhaps like when Colin did it, that's next ep! The music is so damn loud though, it ruins what should have been the focal payoff for this crummy hour of television. www.youtube.com/watch?v=BehwuPQm16A#t=14Capaldi can't play in the spaces, he gets none - the rush-rush-rush of his few seconds are drowned out by the soundtrack. Have they that little faith in their new lead?  It's like Who is made as a silent movie, and Gold is the cinema organist accentuating the proudly intentional nonsense onscreen. Of course, given how intrusive and loud his score usually is, induced hearing loss amongst the audience may also be a factor, a sort of symbiotic link and lucky save for bad writing. Watching TTOTD made essentially no sense to me. Maybe watching it with the sound off will actually improve matters, as Who ascends to the new role of "familiar but odd" screensaver show. In any case, I think there was a little bit of truth field dust afloat when Capaldi spoke the last words on the night: "Just one question. Do you happen to know how to fly this thing?" I'm sure someone will, in the spirit of the season, send along a few DVDs of what the production team's missing to Moffat and co, so that Freudian slip will have some useful benefit... |
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Post by Deleted on Dec 27, 2013 10:25:06 GMT
After the at least so-so effort of TDOTD, I had hopes of the show getting better for handing over the reins of the Doctor.
How wrong I was.
As Paul says, they didn't even get Capaldi's introduction right, the one thing that was even average in the mess of an episode. I can only hope desperately of the show gaining some semblance of sanity and of deserving it's title. But I doubt it.
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Post by lee jones on Dec 28, 2013 0:09:10 GMT
If the show went down that route it would be a completely new show. Doctor who would have effectively finished. New man, new lease on life, new era -- I wonder to what extent the reset of the doctor's regenerations affected and changed him. If the change is complete - so the doctor's memories are wiped, new body, mind, etc. how is he the same person then? It reminds me a bit of the old thing -- you know the sort of thing whereby some old guy talks about having the same broom for 30 years. But it's had 6 new brushes and 3 new handles, but it's still the same broom !
I still think what everyone saw in this years xmas special was nothing more than - to coin a phrase - a re-re boot (The first reboot being the TV film or the start of the new dr who series - take your pick). What concerns me is what direction the show now takes after this. Is this an attempt to come back to what most people would understand Dr who to be about and to bring it back in line with the earlier series. Or is this an attempt to go off in another direction (which IHMO certianly isn't going to last another 50 years - !). Is the show gradually going to end up eventually as a "re-imagining" of the whole series? Could it be the whole thing ends up as something truly horrific (imagine say 'Eastenders in space' being made).
I guess with all the above posts and discussions here in this thread we're prehaps bumping up against something else here, namely TV in 2013. Bad thought I know but today *money* rules everything and I guess dr who is no exception. Advertising everywhere and you can't escape it to the point it's rammed down your throat and frazzles your brain to stories being banged out as if they were on a production line with no care for the story just so long as it makes millions. I apologise for going off topic but look at the films coming out of hollywood -- I can't think of any that have been particularly memorable for quite a while now. It's just the usual super heros (zeros)/explosions/CG/Weak-to-no plotlines/over use of the "working guy comes good" storyline again and again. But hey it makes millions :-( . Is that the future for TV, and for Dr who?
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Post by Matthew Kurth on Dec 28, 2013 17:39:00 GMT
Where will you start him off, Matthew? What sort of stuff does he like to watch? Would he tolerate B&W? A sampler of different styles from different eras, with a focus on the sort of material you think would suit him mixed with stuff you think he'd like if he gave it a try, might work. He has a degree in Medieval Welsh Literature, collects old books, is knowledgeable with history and Tolkien, and goes hiking/camping in cold weather. I actually think he may appreciate some of the better B&W stuff. I really want to start him off with Part 1 of "An Unearthly Child" and then maybe jump to "Genesis of the Daleks", "Terror of the Autons", and then "The Deadly Assassin". Possibly interspersed with "The Romans" and "Tomb of the Cybermen". Then "The Talons of Weng-Chiang" and "The Caves of Androzani", and we'll see what happens. |
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Post by Paul McDermott on Dec 31, 2013 3:39:26 GMT
Where will you start him off, Matthew? What sort of stuff does he like to watch? Would he tolerate B&W? A sampler of different styles from different eras, with a focus on the sort of material you think would suit him mixed with stuff you think he'd like if he gave it a try, might work. He has a degree in Medieval Welsh Literature, collects old books, is knowledgeable with history and Tolkien, and goes hiking/camping in cold weather. I actually think he may appreciate some of the better B&W stuff. I really want to start him off with Part 1 of "An Unearthly Child" and then maybe jump to "Genesis of the Daleks", "Terror of the Autons", and then "The Deadly Assassin". Possibly interspersed with "The Romans" and "Tomb of the Cybermen". Then "The Talons of Weng-Chiang" and "The Caves of Androzani", and we'll see what happens. That sounds like fun, Matthew, I hope it works out! If he digs history, how about some of the other historicals? The Aztecs is just gold. The Romans will give him a nice taste of the historical farce approach. Even The Time Meddler may offer some possibilities. The Gunfighters, too! If he listens to stuff whilst camping, he might go for Marco Polo and The Myth Makers, two very different styles for the one period! The BF Lost Story Farewell Great Macedon is tremendous, and the 4DA Wrath Of The Iceni is very good, too. The mythological elements apparent in Battlefield may have some appeal for your friend. Even The Visitation, Black Orchid and The Awakening may interest him! Ditto Time Warrior and Masque of Mandragora, the latter being written by a fellow academic! As for the others on your list? Can't go wrong there! Best of luck! |
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Post by shellyharman67 on Dec 31, 2013 9:04:25 GMT
I have to say that all the while Moff is at the helm you might as well have Cheetah from tarzan as the Dr ! Im not expecting much to be honest !
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Post by Paul McDermott on Feb 12, 2014 1:07:38 GMT
I really have no idea what the future holds for the show, but the costume the new bloke got handed seemed pretty damn dull. Colin's all-blue radio costume sprung to mind, and that it was a joke. Perhaps some kind of CGI jiggery-pokery will overlay on the coat and trousers, so it shifts as he's figuring out who he is, chameleon circuit threads to DT's transcendental pockets. I wouldn't want to see this but it'd be in keeping with earlier silliness if it came to pass. But no, it's what we've seen is what we get. The basic line, short coat and pants, with a vest, and almost but not quite Doc Martens, seems like a Smith knock-off. A bit like the transition from 5th to 6th, long coat, question marks on the collar, the layering. But Colin's outfit was hardly as subdued as his predecessor, let alone moreso as Capaldi's is! Compare the look of the first five Doctors, and the lack of vision, of creative direction nowadays is immense. Who, aside from marketing, thought it was smart to have Doctors dressed in things so mundane you can buy them at the shop? Talk about parochial! The raving about the lining of Capaldi's coat as suggestive of some kind of Pertwee flamboyance supported by a PR shot gesture by the lead, jeepers. Is this what we're reduced to? Maybe not us, but the production team and the unlucky lead? Yeah, I think they really are. Near as I can see, the pre-existing staleness and lack of vision has been harnessed to full effect for one more turn around the mulberry bush. Not much of a welcome for the new guy!  |
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Post by Paul McDermott on Nov 5, 2014 6:45:05 GMT
How do, all! Nearly at the end of the run, what did we make of it? Spoilers ahoy if you’re not up to ep 11, chums! I think Capaldi has been given a few good eps but in the main he’s been lumbered with the sort of tonal nonsense that hampered Colin Baker’s first season. Far too combative with the companion far too often. He’s very good at it, but it’s not very modulated so it gets less enjoyable than it otherwise would be. Not having a user friendly model of Doctor is a welcome change, but I think the range still needs a tweak or two. Smith by contrast struck me as being more or less like the bloke who hit the ground running in The Eleventh Hour. The last feller to me had more variability in his performance, and some of that is surely down to being permitted the scope to do so. The tropes of blackboards and so forth to me seem a tad cliche, and I trust they’ll resist the urge to get Capaldi playing chess or the violin. That he’s not the smootchy kind is a step in the right direction - not that older folks can’t be sexy, nor that we can’t see an element of this in time in an isolated low key way, but just that this aspect has been overemphasised too much for too long. “She cares so I don’t have to!” was exactly what I wanted to hear. There have been plenty of resonances with early eps, from “the Doctor factor” being introduced to the patient in Inside The Dalek (a la Evil) to many visual cues that evoke memories of B&W eps such as Enemy and Crusade, etc. To me, they show a team that cares about the show’s roots, and the viewers who know and love them. I like very much the visual splendour of the pretitle offworld vistas, but am rather bored with the “meanwhile, back in present day London” obsession the show has fallen prey to since it came back under Davies nearly a decade ago.  For me Doctor Who isn’t about school kids, dating and yapping deep and meaningfully on a cellphone. The famous Eccels(ton) said it best: “I don’t do domestic!” but they ruined it by making sure that this is exactly what we got. I’m hankering for wide open spaces and times, the whole point of having a TARDIS. After 5 years of Pertwee’s wheel clamped era, Hinchcliffe came along and put the adventure all over the cosmos again. Like Billy had it back in ‘63! Yes, you need to balance interiors with achievable shots. Yes, the budget needs to be considered. But the show will not play to its strengths if we don’t see them. That means new places and new faces. Remember when anyone could stand a chance as a companion, not just present day English girls? It’s way past time we saw that again. Back when Captain Brigg’s freighter wasn’t even so much as a mote in a triceratops’s eye and fandom was less than half its present size, I recall reading a cogently argued piece in the local fan press about how an archetype rather like Beatrix Lehmann’s Professor Rumford could serve well enough for the telly if the idea to make more Who ever came to pass and the Beeb wanted to shake up expectations a bit re the lead. At the time, there were those who thought this was nuts, or a just a bit of a stir. A few actually thought it was worth a try! What has been done with the Master in Series 8 to me strikes the same sort of notes. There are those who are acrimonious about the decision. Good luck to them, of course. But why the heck can’t you recast a male role as a female one? It shouldn’t be done rashly and it needs to have a high calibre of actor and scripts that make the decision stand a chance of being successful. For mine, at least, I think Michelle Gomez has made it work, and work well. This was a risk, and to me it paid off. Far less the slow burn that Capaldi has been stuck with, thankfully! I want to see more of her. I want her to be back next year, and throughout the Capaldi run. Not every week, as Delgado got it in Season 8, but sprinkled here and there, when it’s a surprise, a treat. Special. Exciting. Unexpected!  I don’t want the Mistress to be wheeled out predictably every end of series for the cliffhanger. I don’t want to be “dazzled” by another death defying “unexpected” escape. I want her to show competence, and reward the viewer for the same. That means, she knows what she’s about - just as the viewer does. If she escapes, have the Doctor simply unable to stop her doing so. Delgado did this a bit, nobody howled at the moon. The Doctor’s opposite number is going to be as good as he is at cheating death, that’s a given. But how can we up the ante? A few thoughts spring to mind, and maybe will be followed through on in the series closer. That the Doctor can attract all manner of folk to his side, who want to travel with him and assist in his adventures, is a central plank of the show. Why can’t his nemesis do the same? Indeed, why can’t his companion du jour be persuaded, gulled, or coerced into dumping him for the other team? Let’s have some ambiguity, some character texture, some variety. Clara in Dark Water gave a hint of a possibility within her of being able to choose to do something terrible to the Doctor if she thought the ends would justify it. I’d like to think that’s foreshadowing of her changing sides, even if the decision is made under duress and by deceptive influences. People can make mistakes, and then they live with the consequences. We saw that with Mr Pink this series, why not Clara too? If Clara were to leave with the Mistress, it could make for an interesting new frame for the next series as we are left wondering how the Doctor will find her again, and what she'll be like if he does. Will Clara be seen as a temporary and disposable spoil of war by the Mistress, to hurt her rival and then toss her aside the moment she’s escaped? Would she seek to cultivate an acolyte? Or might she have another purpose? I recall the clips show that preceded the 50th special last year. Clara seemed to be involved in multiple instances of the Doctor being pulled out of trouble. What if Clara is the Damocles sword the Mistress now holds over the Doctor? If any harm comes to Clara, the Doctor (and all the works he’s done) will be unravelled at a stroke? I’m guessing the Mistress is now travelling by time ring, given her wrist jewellery. It also makes it cheaper on the production team, and serves as a nice differentiation between the two adversaries. There’s also a bit of resonance with the Mary Poppins vibe by having her just turn up places, sans horse box, Ionic column, etc! A still photo released by the BBC of next week’s Death In Heaven shows the Doctor wearing what looks like a bangle of sorts on his right wrist. Could they perhaps swap transport for some reason? If the Mistress winds up swiping the TARDIS, (what's good for the gander is good for the goose!) Capaldi’s next series could have some Pertwee overtones if he’s stuck on Earth with a nonfunctional time ring! A bit of friction between him and Kate Stewart could make it interesting, and if Danny survives he could join UNIT to help him find Clara and to keep an eye on him. A sort of minder? I’m thinking he’s going to need one before long, especially if he’s temporarily marooned here. It might serve to further explore the Doctor’s views on the relative merits of soldiers et al, a theme referenced a bit this year and possibly now tied in with his boyhood thanks to the toy dropped off by the impossibly round faced girl who hid under his bed! An older bloke as the Doctor and an older woman as his arch enemy (both in relative terms, but certainly in ‘05+ money) strikes me as a terrific thing to see on telly in 2014. It shows we, the actors and the production team themselves, don’t have to accept that only on sitcoms like One Foot In The Grave are such casting choices possible. And the idea that you can get a woman in to play a part previously the province of a man, and be well received for doing so, is a hopeful sign. Jemma Redgrave certainly passed muster for me as the new Brig! My sense of it, given the leanings of Bob Holmes (check out his Blake’s 7 stuff, if you’ve not) and Barry Letts’s philosophical predilections, is that the folk who helped bring us the Master in the first place would be quite pleased with this new approach to the character. To quote that loveable codger in the National Portrait Gallery, “Ha, ha, ha. Congratulations!” Gold’s musical theme for the Master seemed like foreshadowing, being evocative of the Wicked Witch in The Wizard Of Oz. Radiophonic junkie that I am, I’d love a blare of Simpson’s version next week, maybe repurposed as an alert noise from an old UNIT computer tasked with watching for the evil Time Lord! Similarly, a bit of Space Adventures in some form wafting over the scene of unsuspecting members of the public cooing over the newly undead walking about in the vicinity of St Paul's Cathedral like it’s 1968 would be fun! The Mistress playing on the common fear of death to destroy humanity is very much like the sort of thing the Master got up to in Terror Of The Autons. Sniff a pretty free plastic flower, that’s yer lot! I had wondered if the Cybs were going to get some kind of origin story, that maybe Earth was the control group to Mondas and the Mistress was behind their creation or something, but I doubt it’ll play out even with an hour to fill. Just so long as it’s not cluttered with trivial minutia about how the Master got back and became Missy, why the Doctor didn’t recognise his arch enemy when he did in The Sound Of Drums, where she bought that parasol, are those Dalek bumps in her blouse, etc etc… |
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Post by Deleted on Nov 5, 2014 8:53:28 GMT
This has been the most consistent series since it was relaunched for me. Best doctor since Tom Baker (someone who can really act and give it depth) but most importantly we're getting self-contained stories with an overall shape to them, far less of the excessive musical scores swamping the dialogue and drama (still too much, mind) and a new darker direction for the show. Best for me was the Orient Express episode by a wide margin. Most of the others have been no less than "good" or "entertaining" though, which I haven't felt I could say before. A decent time slot too (although this week's episode was so black, I couldn't imagine it being shown at a time when younger kids were watching). Most of all though, it's finally shaken off the epic inter-story / inter-series continuity malaise, which was dragging the show down into an abyss. I still have issues with the programme's production style generally but that's more to do with a dislike for how all drama is made these days than anything else.
What has happened to bring about this radical change of style, I wonder?
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Post by Paul McDermott on Nov 5, 2014 9:32:38 GMT
Beats me, Laurence - but it's sure nice to see. It's interesting you point to Mummy as your fave thus far. For mine, at least from the first watch (yet to review any since Deep Breath) it's Flatline - also by Jamie Mathieson. Same bloke, different strokes! Hope he's back next year. I loved Flatline's visual weirdness and the playful use of the TARDIS dimensional quirks, things we'd not seen explored before in quite this way. And as much as I expected an injoke about Logopolis, I don't recall seeing one. A creepy new science fictional villain, a nice bit of Doctor business at the end featuring Capaldi, some lovely visual gags and some texture to the team! Mummy for mine has the issues I've had with the overuse with the Victorian era and the Christmas special Kylie appeared in that looked like a ripoff of a Douglas Adams book. If we go to outer space, why make it look like the same mundane stuff we've already seen on Earth? If it's a 20's railway carriage, like something out of The Polar Express, why bother? It looked pretty but I just couldn't warm to it as a concept. If the Nerva Beacon looked like an Edwardian sailing ship, then Enlightenment would have been a bit ho-hum, if you follow. Let's not be afraid to embrace and explore difference on other worlds and in other cultures, instead of reheating old favourites from the art catalogue. Would Cusick have been better off if he was told to dress Skaro and the inhabitants of the metal city like Eskimos? No, give talented people the scope to imagine and create new sights! Besides, if we make the show too cozy for the mundanes, they're likely to wonder why they aren't watching a real period drama instead, I think. Agree with you about the sound mix too, it does seem to me like it's gotten a little better. Finally! And yes, a later slot means it can be "a bit more frightening for the kiddos". I thought it'd rain frogs on the Moon before that'd happen but apparently the idea that all dead people are buried alive has unsettled a few viewers! Like that bloke off the radio who said "Science not sorcery, Miss Hawthorne", I rather loved this bit in Deep Water: Dr Chang: Over time, Dr Skarosa became convinced these were the voices of the recently departed. He believed it was a telepathic communication from the dead.
The Doctor: Why, was he an idiot?
Dr Chang: He was able to isolate some of the voices, hear what they were saying.
The Doctor: So, an idiot, then?
Climate change seems to have turned the Cyber ice tombs into acquariums though. Perhaps the Cybermats scuttle on the bottom, like crustaceans?! |
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Post by George D on Nov 5, 2014 12:11:46 GMT
The mistress? Please don't tell me they regenerated the master into a woman:(
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Post by Deleted on Nov 5, 2014 12:46:55 GMT
Where have you been, George?! |
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Post by stephenwit1 on Nov 5, 2014 16:18:49 GMT
SPOILERS FOR THOSE WHO DID NOT WATCH DARK WATER.
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May the New Year see an overdue revitalization of this venerable and precious show's fortunes, rekindled by a return to those roots of good drama so palpably evident in the newly returned eps that have brought such deserved acclaim for those who made them, and those who returned them to a grateful world to see anew. 
