Category: Reviews

Martha Thomases: Doctor Who and Something… Joyful!

Thomases Art 131129It was Saturday morning and I was at the Union Square Green Market buying dried black beans for soup. It was a beautiful clear cold day, the kind that makes me even more chatty with the people selling the goodies (and, yes, I consider black beans to be goodies. Sue me.). The lovely young woman who took my money commented about being outside all day.

“But there’s Doctor Who!” I said.

She looked at me with scorn.

“I have to watch,” I said defensively. “I need to be able to talk to my son.”

“You’re a good person,” she said. I interpreted this to mean that I was subjecting myself to something tiresome in order to be a good parent.

I came late to Doctor Who. I mean, I had heard of it but never felt any great need to see it. I thought it might be like Thomas, the Tank Engine, a perfectly fine BBC show for children that I also didn’t want to watch. A character with a colorful scarf did not seem compelling enough to me.

Years went by. My son and I bonded over various media, including the television ventures of Joss Whedon, Homicide: Life on the Street, and assorted, other, coolstuff .

So when he said I’d like Doctor Who, I listened. But first, I whined. “It’s been on forever,” I said. “I don’t have time to watch decades worth of a series.

“You only need the new stuff,” he said. “It’s all on Netflix. It’s easy.”

So I started. The first episode I saw didn’t thrill me. I mean, it was fine, but didn’t seem to be the kind of thing to inspire a cult. My son said, “Give it time. Lots of people don’t like Christopher Eccleston.”

But he wasn’t the problem. I thought he looked a bit like Jason Statham, and I amused myself by imagining what the program would be like if Jason were The Doctor. Fucking awesome is what it would be.

So I was enjoying Eccleston, but it was David Tennant who won my heart. That is a cute guy. And, as I was relaxing into the show more, it grew on me. I liked his relationships with the various companions, women who were his friends, nothing more and, more important, nothing less. I liked that they were not, for the most part, conventionally beautiful. Billie Piper’s Rose Tyler was dressed to look like she still had some baby fat, Freema Agyeman’s Martha Jones is (you should pardon the expression) black, and Catherine Tate’s Donna Noble was definitely pudgy and had rather coarse features (please note I think these some are beautiful, but my point is simply that they don’t meet Hollywood standards). They were, like most of us at first glance, ordinary. And, as we watched them interact with The Doctor, they revealed themselves to be, like most of us, extraordinary.

Matt Smith is no David Tennant, but he grew on me. I felt the writing for his character got dicey at times, with some of the gags forced, and his resemblance to Stan Laurel was, at times, distracting. But I loved the Ponds. Through them, I grew to like Smith.

I enjoyed “The Day of the Doctor.” It was fun. I suspect I missed a few Easter eggs, since my knowledge of the older versions of the show is limited to the newer episodes, which I know makes me much less cool. However, I have loved John Hurt since he was Caligula, so that was pretty much great.

Before I left with my black beans, I said to the woman, “The thing about Doctor Who is that, no matter how dangerous the situation, no matter how dire the circumstances, the characters are always happy to see each other. They always find something joyful.”

“Maybe,” she said, “I need to look at it again.”

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostreander

 

0

Tweeks Get Their Whovian Geek On For The 50th

Doctor-Who-The-50th-Anniversary-Wallpaper-doctor-who-35308700-1920-1080The Tweeks enjoyed the Day of the Doctor in Los Angeles and today recap the Dr. Who 50th Anniversary, giving us their review and reactions.

And yes, they  manage to keep their squeeing over both their Doctors being onscreen at once to a minimum.

***Spoilers Alert!***

The Tweeks will return Tuesday morning with their special Hunger Games: Catching Fire review!

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

 

REVIEW: The World’s Endf

THE WORLDS END BD_2DAfter a steady diet of stupid buddy movies, including this summer’s Grown-Ups 2 flop, I welcomed Edgar Wright and Simon Pegg’s unique take on the concept in The World’s End. After a steady stream of funny and inventive films, this one hewed closer to a traditional premise: five high school buddies reunite for one last blast. However, being from this duo, one could expect something different.

The first forty minutes of the film felt fairly straightforward as the one who refused to grow up gathered his peers, all mired in staid existences, and convinced them to do what they failed to accomplish in their teens. In this case it meant visiting and quaffing a brew at all twelve pubs along the Golden Mile, finishing at the fabled World’s End. We see them struggling to reconnect, all annoyed at their leader for one reason or another. Unlike other films in this manner, the men are archetypal, not caricatures, and you feel the weight of adulthood on their shoulders. Their resentment towards Gary King (Pegg) is also tinged with envy as he has never lost that boyhood spirit, that Can Do attitude that made the next step an adventure.

Then things take an unexpected twist and we’re plunged into an entirely different story that pits these five against an alien threat with the very world’s fate at stake. How they handle this fuels the remainder of the satisfying film, out now on Blu-ray from Universal Studios Home Entertainment. Considered the final installment in the Cornetto Trilogy, viewers should be aware it has absolutely no connection to Shaun of the Dead and Hot Fuzz. What they do share in common is an ensemble cast and smart, witty writing that never trips over the line into dumb humor or slapstick.

Worlds-EndWright nicely skewers the horror, cop, and science fiction conventions in these films, always taking ordinary people with ordinary problems and sticking them in extraordinary circumstances. Gary King is the boy who never grew up and as an adult, his actions now appear inappropriate but it is his spirit to never give up that forces the others — — Steven Prince (Paddy Considine), Oliver “O-Man” Chamberlain (Martin Freeman), Peter Page (Eddie Marsan) and best friend Andy Knightley (Nick Frost) – into action. The quiet home of Newton Haven is too quiet and the looks the quintet receive from the patrons borders on The Stepford Wives, even their old college professor (Pierce Brosnan) seem s a little off. When King rips the head off a young punk, he discovers the inhabitants have been replaced with robots out to “civilize” humanity.

There’s a tremendous amount of running, fighting, screaming and humor but in the end it all comes down to King and Andy debating the Voice (Bill Nighy) behind it all. As climaxes go, it falls a little flat but is whimsical in a nice way. And there’s even a touch of romance with Oliver’s sister Sam (Rosamund Pike), the sole major female role in the film, a failing on the Bechdel scale.

The-Worlds-EndThe film’s tone is a steady one, despite the rising complications and activity. The performances are strong as one would expect from the cast, who have worked together for many a year, making this one of the strongest and best comedies of the year. Out on a combo disc (Blu-ray, DVD and Ultraviolet digital), the video transfer is fine, matched by sharp audio. Unlike a lot of recent releases, this one comes with an excellent abundance of material staring with Commentary from Wright and Pegg and Wright and director of photography Bill Pope and Pegg with co-stars Frost and Considine. The first is funny and interesting, the second interesting for technical folk, and the third is as hilarious as you would expect.

U-Control Storyboard PiP lets you see the film’s storyboards alongside the film which is interesting for storytellers. Better is Completing the Golden Mile: The Making of The World’s End (48:00) which takes us through the concept to production although you know some of this through the commentaries.

Additionally, there’s Filling in the Blanks: The Stunts and FX of The World’s End (28:00); VFX Breakdown (9:00); Edgar & Simon’s Flip Chart (13:00), a fascinating look at the beat by beat breakdowns writers use to craft screenplays; Director at Work (3:00); Pegg + Frost = Fried Gold (3:00) Friends Reunited (4:00), mostly culled from a press kit; Three Flavours Cornetto Trilogy (5:00); Animatics (11:00), for two scenes; Hair and Make-Up Tests (4:00); Rehearsal Footage (6:00); Stunt Tapes (9:00); There’s Only One Gary King: Osymyso’s Inibri-8 Megamix (5:00); Music remix montage; Signs & Omens (8:00); Deleted Scene (1 minute); Outtakes (11:00); Alternate Edits (SD, 5 minutes); Bits and Pieces (3:00), additional alternate takes and shots; and, Trailers & TV Spots including the TV Safe Version. Finally, there are Galleries of photographs, concept art, animatronics, prosthetics, theatrical posters and pub signs and a fun Trivia Track.

By all means, check this one out and enjoy the bonus features which enhance the enjoyment.

REVIEW: Doctor Who Specials Feature History & Comedy

The BBC did a cracking job of filling the week before the Doctor Who 50th anniversary with new programming to appeal to Whovians across the globe.  Noted scientist Brian Cox hosted a seminar about the nature of space and time, while noted actor Brian Cox starred in An Adventure in Space and Time.  Paul McGann starred in a short adventure featuring the eighth Doctor, while Doctors Five, Six, and Seven hatched their own plan to crash the festivities.

David Bradley as William Hartnell as The Doctor in An Adventure in Space and Time

Mark Gatiss penned An Adventure in Space and Time, a dramatic adaptation of the early years of the classic series.  Brian Cox and Jessica Raine (Call the Midwife) starred as Sydney Newman and Verity Lambert respectively, the minds behind the show, while David Bradley (Game of Thrones, Harry Potter) took the role of William Hartnell, the first Doctor.  Hartnell was unsure of his ability to take on the role, and Verity supported and encouraged him, each helping the other make a name for themselves in television history.  Bradley does a wonderful job of showing Hartnell’s range of emotion as the harsh schedule of the show takes its toll on him in only three years. A recurring motif of a series of publicity pictures for each new cast change portrays the progression wonderfully.

There’s a number of cameos of classic Who actors in the film. William Russell (the original Ian Chesterton) plays a BBC guard, and early companions Anneke Wills and Jean Marsh (Upstairs Downstairs), and current voice of the Daleks Nicholas Briggs as the original voice of the Daleks, Peter Hawkins.  One final cameo at the end is too wonderful and precious to spoil – let’s just say Gatiss is not afraid to let the line between reality and fantasy blur if needs be.

While the adventure is scheduled for release in the UK on December 2, there’s no date for a US release as of yet.

A lot of fans were upset that the “classic Doctors” were not asked to participate in the anniversary episode (save for McGann, who naturally had to keep his appearance strictly secret), so Peter Davison decided to take matters into his own hands.  He wrote and directed The Five(ish) Doctors Reboot, a half-hour adventure in which, well, in which Peter Davison takes matters into his own hands about not being asked to participate in the anniversary.  He, Colin Baker and Sylvester McCoy hatch a mad plan to crash the filming of The Day of the Doctor and garner appearances.  In a series of mad escapades worthy of Lucy Ricardo trying to get into Ricky’s show (ask your parents), the trio get help from John Barrowman, Peter’s daughter Georgia Moffett and her husband, one David Tennant.

The adventure was filmed alongside the anniversary episode, with our heroes conspiring behind the scenes as the “actual” footage is filmed off-camera  It features cameos from just about everyone that’s been on Doctor Who that “wasn’t invited” to be in the anniversary, up to and including Russel T. Davies.  Tom Baker does not appear, instead using the very same footage from The Five Doctors that they pulled from Shada to cover for his non-appearance there.  Georgia gets a producer’s credit for the adventure, with Steven Moffat and Brian Minchin as executive producers.  It’s a wonderful piece of work from all involved, clearly a love letter to both the old guard and its fans.

The Five(ish) Doctors Reboot is also available for viewing at the BBC website.

Mindy Newell: The Day Of The Doctor

Newell Art 131125 “Great men are forged in fire.

It is the privilege of lesser men to light the flame.

Whatever the cost.”

The Warrior Doctor (John Hurt), The Day of the Doctor, November 23, 2013

After all the press, after all the hype, after a week of BBC America’s Doctor Who Takeover, I was really afraid that actual episode was going to suck, that I was going to be miserably let down, wretchedly disappointed.

I. Was. Absolutely. Completely. Totally. Utterly. Positively.

Blown. Away.

The whole wide world became the whole wide Whovian world yesterday, as the BBC simulcast The Day Of The Doctor in over 75 countries – Angola, Australia, Bangladesh, Benin, Bolivia, Botswana, Brazil, Burkina Faso, Burundi, Cameroon, Canada, Cape Verde Islands, the Central African Republic, Chad, Chile, Colombia, Congo, Costa Rica, the Cote d’Ivoire, the Democratic Republic of the Congo, Djibouti, the Dominican Republic, Ecuador, El Salvador, Equatorial Guinea, Eritrea, Ethiopia, Finland, France, Gabon, Gambia, Germany, Ghana, Guatemala, Guinea, Guinea Bissau, Honduras, Hong Kong, Indonesia, Israel, Italy, Kenya, Liberia, Madagascar, Malawi, Malaysia, Mali, Mauritania, Mauritius, Mexico, Mozambique, Myanmar, Namibia, New Zealand, Nicaragua, Niger, Nigeria, Panama, Paraguay, Peru, Poland, Russia, Rwanda, Sao Tome & Principe, Senegal, Seychelles, Sierra Leone, Singapore, Somalia, South Africa, South Korea, South Sudan, Sudan, Swaziland, Taiwan, Tanzania & Zanzibar, Thailand, Togo, Turkey, Uganda, the United Kingdom, the United States of America, Uruguay, Venezuela, Zambia, and Zimbabwe.

I mean, seriously, has the United Nations ever been able to bring about such a coalition? I mean, seriously, I think the last time so many countries and their citizens came together to celebrate and raise a glass or two as they did on Saturday was for the end of World War II 68 years ago.

I mean, seriously, think about it, people. So many of these nations are embattled and torn apart by violence and terror and war—and yet the Doctor, fictional character though he may be, hits such a powerful chord of hope and peace and unity among the peoples of this Earth, is it possible that even in places like Somalia and Myanmar and Colombia and the Congo that a truce was called for one hour and twenty minutes on Saturday, November 23rd, 2013?

Once before has the world been stopped on this date. 50 years ago President John Fitzgerald Kennedy was shot dead in Daley Plaza, Dallas, Texas on November 22, 1963, and the world held its breath for the next four days as his body was returned to Washington, where it laid in state, first in the White House and then at the Capitol Rotunda, to finally come to rest in Arlington Cemetery across the Potomac River in Virginia – and so in England no one, or very, very few, saw the BBC’s debut, on November 23rd, 1963, of a science fiction television show about a grandfatherly man and his niece and her two teachers adventuring in time and space in a contraption called the TARDIS, which was an acronym, the niece informed us, for Time And Relative Dimensions In Space, and which looked like an English 1950’s police box.

But the BBC reran the premiere episode of Doctor Who and its ratings took off, and when William Hartnell, the first actor to play the Doctor, became too ill to continue, an innovative idea was born to explain the introduction of Patrick Troughton as his replacement—regeneration.

And now Doctor Who, the series, has regenerated.

I won’t go into depth, so as not to spoil it for those who were unable to see The Day Of The Doctor this past weekend, but I will say this – the driving force behind the Time Lord has been changed.

It was quite a day.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

New Who Review: The Day of the Doctor

New Who Review: The Day of the Doctor

It’s not often you get to describe an event as being fifty years in the making. even less so do you get to mean it.  Three Doctors in three timelines converge to give them all a chance to change a terrible moment in their collective past.

The Day of the Doctor
by Steven Moffat
Directed by Nick Hurran

The Doctor is in the present, in his most recent incarnation, picking up Clara, when he gets picked up himself, by UNIT, to investigate a mystery at the National Museum.  Meanwhile (well, I say meanwhile…) in his previous incarnation, he’s investigating a mystery in Elizabethan Britain, an attack by the Zygons that could lead all the way to the Queen herself.  And in another part of the Universe entirely, The War Doctor is making a decision that will put the lives of countless innocents in his hands, a choice that will darken and color his life for centuries to come.

Considering that it is physically impossible to create an episode that has everyone and everything that every fan wants, this episode was as close to perfect as could be.  It embraced plotlines that were started in the Davies era, tied in moments and points in Moffat’s own time of running the show, and did a job of undoing a dark moment in The Doctor’s history worthy of Geoff Johns.  I screamed out loud three times, and it would have been four, if one fellow had been able to keep his mouth shut.

THE MONSTER FILES: The Zygons only got one appearance in the original series, the eponymous Terror of the Zygons, but it was enough to keep the popular in the alternative media for years.  Shapeshifting beings, they invade by taking over from within, taking the forms of important people.  They got an off-camera return in The Power of Three as they tried to invade during Amy and Rory’s second honeymoon.

BACKGROUND BITS AND BOBS:Trivia and production details

Oh my GOD is this gonna be a long one.  This episode is packed with self-references and tips of the hat, as well as calling back to points from many other episodes.  I’ll see if I can hit them all…

THE QUESTION ISN’T WHERE, IT’S WHEN: More precisely, from when.  Matt Smith’s Doctor is clearly experiencing this adventure in the “present,” as in after the events of the last season.  Considering Ten(nant) is traveling alone, and is having the adventure he refers to when talking to Ood Sigma in the beginning of The End of Time, he’s clearly from a period between The Waters of Mars and that episode.  We don’t know exactly how much time he spent gallivanting about between those episodes, clearly long enough for his memories of the details of this paradoxical adventure (while still remembering the bits about the Virgin Queen) that he still saw a need to re-imprison the Time Lords with the help of The Master.

Similarly, The War Doctor is experiencing this adventure at the end of this regeneration.  But while we saw his “birth” in the Paul McGann mini-episode, we don’t know exactly how long he has been around, fighting in (and against) the Time War.  He was in his seven hundreds at the end of the original series, and nine hundred at the beginning of the new, so there’s quite a lot of years to spread around between Seven, Eight, and The War Doctor.

So in brief, we’re seeing all three Doctors having this adventure very near the end of their respective regenerations.  So each of them have seen all they’re going to see through their eyes, and that’s about the best time.

CALL FOR THE DOCTOR QUICK, QUICK, QUICK: Kate Stewart, the head of UNIT, daughter of The Brig, has a custom ring for The Doctor on her phone.
Also, note that The Doctor’s number is once again 07700900461, as it was in The Stolen Earth. About 2500 people thought that might be a working number (at least for a tie-in recording or bit of marketing, anyway) when that adventure aired, and tried calling it.  no idea how many will try it this time.

“Waste no more time arguing about what a good man should be: Be one”: They hit the ground running with the self-references.  I.M. Foreman‘s scrap yard was where we first met the Doctor, Susan and the TARDIS, lo those fifty years ago.  Susan attended Coal Hill secondary school, where she aroused the curiosity of teachers Barbara Wright and Ian Chesterton, who as we see here, now serves as headmaster.  Sarah Jane Smith did a bit of investigating, and tracked down Ian and Barbara (now Barbara Chesterton), and reported to her son Luke that they no longer appear to age.  Also, notice that as we see Clara erasing the quote from Marcus Aurelius on her whiteboard, the words “NO MORE” are in the center of the screen.

“Draft”: The Triumph Clara’s driving is the one The Doctor drove up the side of The Shard in The Bells of Saint John.  When last we saw Clara and The Doctor, she was not getting along with the TARDIS, now she’d shutting the doors with a click of her fingers.  Clearly quite some time has passed since the events of The Name of the Doctor – enough time for her to get a job as a teacher, and to make peace with the TARDIS.  And yet she and The Doctor still keep their “See you next Wednesday” relationship, as it’s clear she’s not traveling with him regularly, tho she has no problem with picking up and running when he pops by.

“Tell Malcolm we need new batteries” – Malcolm Taylor is the acting scientific advisor for UNIT, and was played by Lee Evans in Planet of the Dead, and when I heard his name, I let loose with my third-loudest shout of the evening.  If you folks think you were upset that Rose or Eccleston didn’t appear…
And those are presumably the “Ravens of Death” she claimed to have in The Power of Three.

“Nice Scarf” – Considering what we appear to learn at the end of the episode, that scarf MAY not be a replica.  It might have been a gift. From the original owner.
There’s a bit of debate going on as to exactly who Osgood is. Rich Johnson at Bleeding Cool seems to believe that she’s Kate’s daughter – while her first line was her calling “Mum”, I took that to mean the honorific “Ma’am”, and not “Mom”.  But we both noticed there was a UNIT tech named Tom Osgood in The Daemons, and a few of the prose stories, so that seems a more possible guess on her father, anyway.

“I’d be brilliant at having a job”: Well, he really does work for UNIT, when he’s around, and he did pretty well in the two jobs he took when he was helping Craig Owen in The Lodger and Closing Time.

“The High Council is in emergency session, they have plans of their own”: Those would be the plans set into action in The End of Time. We first heard of The Moment in that episode, as it too took place (partly, in flashback) during the end of the Time War.

“The Doctor has The Moment”: In a delightful bit of ingenious design, the initial gear-like design for of The Moment somewhat resembles the Antikythera mechanism, an Out Of Place Artifact found in Greece that (theoretically) could plot the positions of the stars to astounding accuracy.

“The interface is hot”: For those who are grousing that Billie Piper is not playing Rose, not my comment above.  If we were watching an adventure where The Doctor was traveling with Rose, we’d be watching a Doctor who had not yet met Martha, Donna Noble, the crew of Bowie Base One, a Doctor who had, in short, barely begun to live.  This was a way to have Billie a part of the show, while still giving us the best Doctor to experience the story. Also note that it’s a lovely parallel to Ten meeting Rose at the end of The End of Time, before they’ve met in that first adventure, Rose. The War Doctor meets her (or at least sees her visage) before he regenerates and meets (and saves) her in that department store.  So once again, The Bad Wolf was guiding them all to fulfill the almost predestined moment so far in the future.

“Elizabeth the First…you knew her, then?”: Based on what we see here, and what Ten implies later, we shall have to leave tactfully alone the question of what definition of “knew” is being used here… This is England 1562, 37 years before The Shakespeare Code, where we “First” meet the queen, and The Doctor is totally unaware of why she’d be so angry at him.  I expect that happens a lot.

It’s a machine that goes “ding”: It’s presumably similar to The Machine That Goes “Ding” When There’s Stuff, as seen in Blink. While that one was more tuned to temporal anomalies, this one is attuned to physical ones, like the energy expended by a shapeshifting alien.

“Is it important?” “In 1,200 years, I haven’t stepped in anything that wasn’t”” Another callback, this time to A Christmas Carol, when he said it about people.

“I need you to send me one of my father’s incident files”: She is almost certainly asking for the files on the incident we know as The Three Doctors, the tenth anniversary adventure.  As they had to do in the past, they had to come up with a way around using one Doctor, but not for the same reason. William Hartnell was not well at the time, an advancement of the illness that cause him to leave the show in the first place.  So he was not able to take an active part in the story, instead relegated to appearing via the scanner screen.  Ten years later, Tom Baker wasn’t able to appear in The Five Doctors, so they used footage from Shada in his stead.  Hartnell had already passed, so Richard Hurndall took on the role of the First Doctor.
For all the grousing many fans are making that they “left out Eccleston” from this adventure, it’s been verified via the man himself and he chose not to participate in the episode.  His departure from the series was not entirely cordial; no firm details have come to light because he’s a professional, but it’s generally understood there was no small amount of bad blood.
The reference to “Seventies or eighties, depending” is a sly nod to the fact that the Pertwee years of the show were filmed in the seventies, but were supposed to be taking place an unspecified number of years in the future, to try and explain the higher tech items that were sprinkled around.

“Reverse the polarity”: “Reverse the polarity of the Neutron Flow” was one of Jon Pertwee’s legendary catch phrases, but like “Beam me up Scotty”, usually misremembered.  That exact phrase was only used once in the series, and as a hat tip in The Five Doctors”, it was the shorter quote used here that got used in numerous episodes.

“Why are you pointing your screwdrivers like that?”: The War Doctor gives voice to many of the complaints old-guard fans have had about the new series – all the kissing, the Sonic Screwdriver acting more like a weapon (and a magic wand), and much more.  Not to mock the fans, but more to point out the fact that the creators know full well how much the show has changed. And indeed, it’s the constant change of the show that has kept it alive.

“We’ll need access to the Black Archive”: Of all the stuff in that warehouse, I spotted River Song’s Manolos, a Cyberman head, a Sontaran blaster and the chair they had Ten trussed up in in The End of Time, which at this point in time…hasn’t happened yet.  The Black Archive first got mentioned on Sarah Jane Adventures, in the episode Enemy of the Bane, guest-starring Nicholas Courtney in his last appearances as The Brigadier.

“You have a top-level security rating from your last visit”: The question is, is that just a continuance of the fact that everyone has their memories wiped as they leave, one of the many times that Clara has appeared in The Doctor’s past, or a precursor to an upcoming story?  Also on that board with the more recent Companions are Tegan Jovanka, Nyssa of Traken, Kamelion, Five’s short-lived android companion, even Ian and Barbara.  Also, photographed with Captain Erisa Magambo is Rose Tyler…but there’s a problem there.  The only time they met were in the alternate timeline of Turn Left.  So…where did that photo come from?

“We don’t have the activation code”: The numbers The Doctor scratches into the wall of their cell is 1716231163.  Or more clearly, 17:16 23/11/63, the exact date and time that episode one of An Unearthly Child was originally broadcast.

“Same software…different face”: We’re not talking about the screwdriver any more, are we, blondie?  Because later on in the episode, we find out that in a very similar way, The Doctor has been mulling a problem over for the same 400 years, one that he gets to solve himself, not by someone just opening the right door at the last minute.
Moffat is so so good at playing with time as a plot point.  Sending the activation code into the future by writing it on the wall, and the idea of the scan taking the long way round and finishing up just as it’s needed.

“Oh, you’ve redecorated…I don’t like it”: A twice-joked joke, back for a third time.  Patrick Troughton said it about Jon Pertwee’s TARDIS in The Three Doctors, and Eleven said it about Craig’s home in Closing Time.

“At worst, we failed at doing the right thing, as opposed to succeeding in doing the wrong”: What this episode does is essentially undoes an act that The Doctor has regretted for centuries.  But as is always true of situations like this, it has to be undone in a way so nobody KNOWS it was undone, otherwise any events springing from it will not happen as they did, and you get paradoxes springing up like dandelions. So that, more than any other, is why all the Doctors from the time The Moment was supposedly used had to believe they DID use it.  Only until after the present Doctor lives through his portion of the history can he be allowed to remember.  It’s a temporal version of eating your cake and having it too.

“Wearing a bit thin”: Which is exactly how Hartnell described himself shortly before the first regeneration in The Tenth Planet, ushering in the miracle that would keep the show going for five decades.

“I don’t want to go”: Technically, this is the first time he says that – he’ll say it again in The End of Time.  They even worked it into the script of An Adventure in Space and Time.

“I could be a curator”: He is the Curator.  The letter from Elizabeth I appoints The Doctor as official Curator of the Undergallery, “to be summoned in the event of any crises concerning it.”  Now, how he gets all the way back around to the time, place and form we see here, well, that’s all the fun is finding out, isn’t it?

BIG BAD REPORT / CLEVER THEORY DEPARTMENT: For once, the arc of the upcoming season might be a positive.  Gallifrey Falls No More, and clearly The Doctor wants to find it.  But there’s a problem.  They may not have been destroyed, but this is clearly still the Time Lords who saw no problem with breaking out of their temporal prison by destroying the Earth, with the goal of controlling all of time and space.  Now one could argue that it was more the mad plans of the Lord President (played by Timothy Dalton in The End of Time) nd the rest of the Time Lords (save two) fell into line.  But that’s an argument we heard around the middle of last century, and it didn’t fly too well or too often.  If I have the timeline right, The Time Lords will be banished back into the Time Lock after EoT, and find almost immediately that their plan was unneeded, as The Doctor saves the planet and shunts it off somewhere.  So in the time that has passed, have they come to their senses and spent their time rebuilding, or have the grown even more enraged as they pounded at the walls of their temporal prison?  It’s the same question Wilf asked in EoT – will the Time Lords’ return be a good thing?  A lot of possibilities.

“No , sir…all thirteen”: In two seconds, Peter Capaldi premiered as The Doctor, and his eyebrows have already garnered their own fandom.  It also verifies what has been assumed to be true since new news of the New Doctor came out: The next Doctor is the last of his current cycle of regenerations.  Moffat has stated clearly that the 12-regeneration limit is still in place, whimsical comment in Sarah Jane Adventures notwithstanding. So in addition to the search for Gallifrey, we’ll certainly hear more than a bit about him reaching the seeming end of his lives.  One has to wonder if the resolution of one plotline will resolve the other.

NEXT TIME ON DOCTOR WHO

In the more short-term, Silence Will Fall.

See you back here at Christmas.

Martha Thomases: All You Need is Love

thomases-art-131122-150x136-4745173The Fifth Beatle: The Brian Epstein Story by Vivek Tiwary and Andrew C Robinson, with Kyle Baker. 144 pages. Dark Horse. Available in both hardcover and electronic editions.

This week, I’m kvelling all the time. The Fifth Beatle is finally in the stores.

Let me explain. About a dozen years ago, I met Vivek Tiwary and we quickly became friends, even though it’s only recently I’ve pronounced his name properly. We met because we had friends in common, friends who inspired us to do some good, in Vivek’s case quite amazingly. (Really, watch the video at the link. It’s wonderful.)

Community service is all well and good, but what really bonded us was comics. We are totally geeks together. We would walk around various conventions (both Book Expo and the San Diego Comic-Con), sharing the kind of fangasms such events inspire. I even helped him take his young son around.

During these walks, and on other occasions, we would often talk about his various projects, He was working on turning Green Day’s American Idiot album into a theatrical musical, and he was working on a screenplay about Brian Epstein. Vivek is quite passionate on the subject of Epstein, the Beatles’ first manager. He first looked tried to find out about him 21 years ago, when he was in business school. There was hardly any information. Over the decades, he pulled the story together. Vivek had a lot of experience as a theatrical producer, but film was a new medium for him. He had written a screenplay, but getting it made was an arduous process.

Why not make it into a graphic novel while you wait, I suggested.

And so he did. He found Andrew Robinson to collaborate on the art (and I introduced him to Kyle Baker, who drew the hilarious scene in the Philipines), and off they went. Thanks to my ComicMix co-columnist Michael Davis, we got the book to Dark Horse.

Vivek didn’t fall into the trap that catches too many writers from other media, including me. He doesn’t cram the page with words. He knows how to let the pictures tell the story. He trusts his artist to convey the pace, the emotions, the energy of the story. Andrew doesn’t let him down. The likenesses are evocative without being overbearing. People who knew some of the characters in real life tell me he nailed the body language as well as the bodies. The use of Beatle lyrics is lovely.

There is a rhythm to the story that is like a great rock’n’roll song. You get caught up in the energy when you read it the first time, and then you can’t get it out of your head.

And now, you have the book in your hands. You’re welcome.

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander

 

Mike Gold: Thor Than The Greatest Fun The World Has Known

Gold Art 131113I saw Thor: The Dark World last week with my usual bunch of hyper-critical Fairfield County buddies. Most of us (oddly) agreed the movie was great fun.

This is not a review of the Thor movie. A review should be more in-depth than four words, although in this Twitter-Totter world I realize this is akin to shouting “Hey, kids, get off of my lawn.”

The movie put on the big screen the type of energy and enthusiasm with which I associate the classic Marvel Comics in general – and with Jack Kirby in particular. Of all the superhero movies that have come down the pike over the past decade, Thor: The Dark World was less consumed with the Greek Angst Chorus than any other I can recall. Admittedly, I haven’t seen them all but, c’mon; did anybody actually pay money to see Catwoman?

I’m all for social commentary and significant subtext. I get the allegorical nature of The X-Men franchise. I appreciate Peter Parker’s sundry traumas. I totally understand that Bruce Wayne is in desperate need of some Xanax and a really good shrink. And I could have a swell time doing a Marxist analysis of Tony Stark. But every once in a while, it’s nice to pull the stick out of the nether-region and settle down for a good ol’ time.

It’s the same reason why I watch Robot Chicken and my favorite DC title is Tiny Titans. Well, that and the fact that Tiny Titans is one of the few DC Comics that actually makes any sense.

I realize that, as a comic book editor (let alone as a writer, broadcaster and professional fussbudget) my name has appeared in a lot more than a handful of Important Message Stories. And it will continue to be. Wait until we start telling you about the Hello Herman graphic novel. But an endless stream of Important Message Stories undermines their significance – concepts drown in the endless seas of moral dilemma.

Moreover, I advocate that we deserve Great Fun. The day-to-day slog through the shitstorm of life is tough enough. Let’s sit back for two hours and watch a bunch of talented actors chomp up the scenery without getting all hung up about reality.

Besides, reality is overrated.

THURSDAY MORNING: Dennis O’Neil!

THURSDAY AFTERNOON: The Tweaks!

FRIDAY MORNING: Martha Thomases!

 

REVIEW: 2Guns

2-Guns-DVD-CoverThe buddy picture was a staple of the 1970s and 1980s, possibly dating back to Butch Cassidy and the Sundance Kid but it’s been largely missing from more recent Hollywood fare. As a result, you have to given Universal Studios credit for recognizing the somewhat fresh approach in the Boom! Studios graphic novel 2Guns. Steve Grant paired two men in a drug story that felt familiar but with every action, things were never what they appeared, freshening the entire concept. Add in the charismatic Denzel Washington and Mark Wahlberg, stir, and you have a crime story worth taking a look.

Out now on Blu-ray from Universal Home Entertainment, the film starts off with a robbery and never really slows down. Washington is Robert Trench, Bobby T, and Wahlberg is Michael Stigman, Stig, paired up to rob Mexican criminal drug lord  Papi Greco (Edward James Olmos) of $3 million in cash. Neither is ware that both men are phonies with Bobby working undercover for the DEA while Stig is a member of Naval Intelligence, hoping to obtain the money to fund their cover operations.

Instead, they wind up robbing a bank in Tres Cruces, New Mexico and walking away with over $40 million in kickbacks paid by the drug lords to the CIA. The agency dispatches Earl (Bill Paxton) to recover the money and he cuts a bloody swath as he nears the truth and the cash. Along the way, the friends discover the truth about one another but then the revelations keep on coming as Bobby realizes he’s been set up by his sometime lover Deb (Paula Patton) and Stig discovers the Navy would rather sweep the scandal under the rug than do the honorable thing.

And chasing them all is Papi, who wants revenge for being robbed and humiliated by the pair. Olmos looks like he’s having the most fun although the two lead performers also banter nicely. The problem with the film is that Blake Masters’ screenplay never properly develops a single character so they feel sketchy. We don’t know what drives Bobby to spend three years undercover and what he’s had to give up or why Stig thinks it’s okay to use drug money for government purposes.

Under Baltasar Kormakur’s direction, we get lots of nice scenes set in New Orleans, and New Mexico and some inventive action sequences but everything feels like it’s on the surface. It’s a cleverly constructed plot and no one seems interested in exploring the larger themes or motivations. Maybe this is why it was aimed at late summer, when most audiences stop thinking and accept whatever’s on the screen.

Watching at home, you stop and realize how little of the story holds up under scrutiny, especially the whole Deb betrays Bobby sub-plot. The disc includes several extended and deleted scenes, none of which add anything to a deeper understanding of the story. Koramakur and producer Adam Siegel provide a standard commentary that shows no one seemed interested in making this a more complex tale. The movie comes with “Undercover and into Action”,  a fairly by the number Making Of featurette.

REVIEW: Man of Steel

1000296769BRDFLTOAt 75, Superman remains the archetypal superhero and still relevant to comic books and the American people. When created by Jerry Siegel and Joe Shuster, he was an amalgam of the myths and pulps both boys devoured, a bit of wish fulfillment given how crappy their lives in Cleveland were. Little did they suspect their hero would become an icon for generations and become one of the most recognized figures around the world.

Zack Snyder attempted to bring that sense of gravitas to the is interpretation of Superman in this summer’s Man of Steel. The problem is, he made such a somber film that he totally drained it of the gosh wow feeling he was always intended to convey. He and screenwriter David Goyer made an interesting decision to make this a first contact story but both men should have remembered the sense of exhalation we got from the four-color comics, the George Reeves television series and seeing Christopher Reeve first appear in the red and blue.

The movie divided critics, fans, and casual viewers most faulting it for its lack of humor and overdone fight sequences. Still, at $662 million worldwide, one can’t ignore its commercial fortunes. We have a chance to revisit the production with the release this week of the film on Blu-ray, courtesy of Warner Home Video.

Superman has always been reflective of the times we live in. These days, we’re more fearful and suspicious of strangers thanks to 9/11 and a constant global threat to our way of life. This film somewhat addresses those fears with a galactic component but then doesn’t really explore it in depth. In fact, the film is entertaining but avoids delving deep when it would be a better film. Instead, things get to blow up with excessiveness bordering on pornographic which someone decided audiences crave. Really, we don’t. We have Michael Bay films and Pacific Rim for that.

man-of-steel-croweThe origin story, to me thoroughly unnecessary this time around but no one asked, has been endlessly told and retold, modified through the interests of the creators at work. This time around, we have a fresh looking Krypton and Science Council, dealing with the death throes of the planet and a coup from General Zod. I can buy that. I can even appreciate the efforts to link Zod and Jor-El more closely because modern drama seems to demand that. On the other hand, this is the first of two occasions where the man bred for war gets his ass kicked by a member of the House of El and that makes no sense.

I disliked Jor-El dying before Krypton because the notion of father and mother holding one another as their son rockets to freedom is indelible.

When Jerry Siegel and Joe Shuster created the character and began telling stories, they were bringing over a decade’s worth of pulp reading experience with them and wrote from the perspective of poor Jews living in Cleveland. As a result, some of the characterizations and dynamics from the 1930s no longer work in 2013 so I am largely fine with the major alterations.

man-of-steel-amy-adams-henry-cavillKent’s fears for his growing son work because in today’s world, someone with those powers would be whisked away in a heartbeat. The trailer makes him out to be a bastard when it seems he is willing to let others die to protect his son’s secret but the full scene plays far better than I feared. He’s thoroughly devoted to the boy and his sacrifice is an act of love (from a writing standpoint, it’s silly since Clark could have gotten the dog and been back before anyone noticed, but it sure beats poor Glenn Ford’s one and done scene).

When the film lets the characters talk to one another, there is a heart and warmth that I wish was allowed to infuse the remainder of the film. The Clark and Martha scenes are the film’s best and credit to Henry Cavil and Diane Lane for making those work so well.

Similarly, critics have taken the filmmakers to task for letting Lois learn Clark’s secret at the outset of their relationship. Frankly, I think this worked just fine. She is the only one to connect the dots, to find the mystery hero and establishes a bedrock of trust between them before the romance kicks in. I miss the steel Phyllis Coates and Margot Kidder brought to the character and at 38, Amy Adams is a little old for the role, but I bought it.

On the other hand, Clark wandering until he is 33 seems farfetched. Let’s say he began wandering after high school, that’s at 18. It takes him 15 years to get his shit together and do something with his powers? This sequence, lifted from Waid’s wonderful Birthright graphic novel is nicely handled but this symbol of hope is saddled with too much Christian symbolism for my taste. (speaking of Waid, I totally agree with much of his assessment over at Thrillbent.)

michael-shannon-zodSimilarly, when he finally inserts the key into the ancient spacecraft, Jor-El arrives to tutor him. For a film trying to distance itself from Richard Donner’s faithful adaptation of the source material, lifting this bit doesn’t work. We get way too much Russell Crowe from here on out, making him the literal deus ex machina.

The filmmakers talk about this being handled as a first contact story which is a fresh angle and I wish they did more with it. Instead, they give us a few lines here and there and little else when this could have been a far richer segment of the story. Instead, the army and Emil Hamilton are there to serve expository purposes and not dramatic ones.

Zod arrives and informs us that out of thousands of colonizing ships not a single one has endured. That stretches the law of averages and can be easily proven wrong in a sequel, robbing Kal-El of his Last Son of Krypton designation. He then announces that whereas Jor-El saw his son as the bridge between races, Zod would rather be the sole sentient race on Earth. To accomplish that goal, he is ready to annihilate human life. He grows one-dimensional and monomaniacal with each passing scene, reducing him to a standard film villain instead of a complex man.

Which leads me to the action sequences which are really too overly long scenes designed to trash everything Superman holds dear, starting with Smallville Why Metropolis is targeted since he’s not yet connected with the city is a mystery, except it gives us a chance to see Perry White, given little to do other than doubt Lois. Steve Trevor is named way too late and Jenny is never properly introduced for us to care about her predicament during the overblown and thoroughly unneeded trashing of the city.

Before I get to the climax, I do want to note that for two devices battering the planet with some gravimetric hoohah, there is remarkably little mentioned about how this was affecting the rest of the world. I would imagine the tsunamis in the Indian Ocean would be devastating while the seismic waves radiating throughout North America would cripple the power gird among other issues. These are more interesting dilemmas than watching two Kryptonians batter one another with rebar.

Antje-Traue-in-Man-of-SteelSuperman is a symbol of hope. We were all raised to believe that and the film mentions it repeatedly. And yet, when he has Zod in a chokehold and hears the general’s threats that he will never stop, Superman feels he has one choice. Actually, as staged, I sat there considering several other options. If I could do it, so could the Man of Steel. He did not need to kill. But he did and then got over it way too fast, way too easily. We were cheated of a big emotional payoff.

This is a world that now knows there is life beyond the stars and how that colors their perception of these forthcoming heroes will be fascinating, if done right. But first, we need Superman to be what has always been, a symbol of truth and justice, a righter of wrongs and a beacon we want to aspire to be. Henry Cavil makes me want to believe in him and I hope he gets a chance to really shine in what is beginning to look like an overstuffed sequel.

The movie looks and sounds as spectacular as one would expect from the mammoth production. To celebrate its importance, the package comes with two Blu-ray discs, a DVD, and Ultraviolet digital copy. On the first disc comes the film plus several features: Strong Characters, Legendary Roles (25:59) which has the cast eloquently discuss the mythic proportions of Superman but really needed more historic context, tracing his development through the years; All Out Action (26:02), which showcases how hard the performers had to train; Krypton Decoded (6:42), hosted by Dylan Sprayberry (teen Clark) and looks at how they blew Krypton up; Superman 75th Anniversary Animated Short (2:03), brilliantly executed by Bruce Timm and making me longer for that sense of wonder to be in the film itself; New Zealand: Home to Middle Earth (6:35), which seems arbitrarily included to promote The Hobbit series.

Disc Two includes the lengthy Journey of Discovery: Creating Man of Steel (2:54:05), essentially replaying the entire film but with actors, producers, and others popping up on screen to discuss elements of the production. At times you get four screens – the film, the speaker, the effects or design, and something else. Highlights include Snyder talking about the importance of Hans Zimmer’s score, and lets a climactic scene play with just the music to demonstrate his point; Antje Traue (Faora) talking about how challenging it was to act in her heavy costume, while Michael Shannon noted his motion capture suit posed entirely different challenges. Richard Schiff’s commentary was lighthearted but mostly superfluous but Russell Crowe’s stories are far more interesting including recounting his first meeting with Cavill. The disc also includes a mocukmentary, Planet Krypton (17:18), which seems to be someone’s vanity project and is easily skipped.