You’ve already seen it, you slathery blagger, but from this side of the time divide it’s an experience yet to be had. I refer, of course, to the debut latest television version of DC Comics’ venerable superhero, the Flash.
(Digression: I never know whether the “the” is the Flash should be capitalized. Seems to me it should because although it’s usually a garden variety article, in this usage it is also part of the guy’s name and so a proper noun and thus meriting capitalization. But a DC editor insisted that its lower case and I guess he should know.)
I said that what will be playing on the CW tomorrow night is “the latest” video Flash and that might puzzle those of you who have entered the universe recently we’ll provide a bit of explanation (and perhaps bore those of you not so new to the universe.)
The Flash first came to your living rooms way back in 1990. It starred John Wesley Shipp and much of it was written by comics’ own Howard Chaykin. And… I confess that I’m about out of information. I wasn’t a big TV watcher back then and – meaculpa – I wasn’t much attracted to comic book characters in other media because, well… comic book characters were my job. But I do recall seeing the show and thinking it was well done.
And I’m happy to note that in what I’ll be watching on the CW, the original television Flash, John Wesley Shipp, plays the current Flash’s father. This is one of those harmless inside jokes that don’t harm your understanding to the story if you don’t get it and provides a momentary smile if you do. (And yes, purists might argue that such jokes do harm the story because some in the audience will be thinking Shipp, Shipp – where have I heard that name? and others will be thinking Hooray – that’s the Flash my daddy told me about! and in both cases the audience member will be distracted and maybe lose an important plot point. But, with your permission, I won’t be that picky.)
What I’m wondering is, how super will the TV guys allow this particular superhero to be? In the very first issue of his comic book, published in 1940, our speedster is shown outracing a revolver bullet, so from the git-go he wasn’t fast like an Olympic runner is fast, he was something beyond human. And he got faster and faster and faster. So he wasn’t a science fiction character because sci-fi requires that the narrative not violate the laws of nature as we know them and someone operating, with no explanation, far beyond human capability certainly does that. Green Arrow is a character rooted in human possibility. Spider-Man is not. Neither is the Flash.
None of which will determine whether or not television’s latest miracle worker can do his real job: giving us a light dose of after dinner entertainment. I guess we’ll find out pretty quickly.
For six years, the town of Jasper, Alabama has been struggling to complete an independent zombie film. Now SyFy is shining a light on their plight with the docu-series, TOWN OF LIVING DEAD and we talk with resident Tina Teeter on how her life has been eaten up by they project. Plus BAR RESCUE star, Jon Taffer, is back with checkbook in hand but is there anyone who deserves his help?
We are covering New York Comic Con in a big way. To see what we are up to, follow us on Twitter and Instagram. And if you can’t make the show, we are carrying LIVE video feeds from NYCC at our website, GetThePointRadio.Com starting on Thursday. Don’t miss a minute.
A friend of mine was complaining about how there aren’t any more Saturday morning cartoons on teevee. I wasn’t the only one who thought, “damn, bro, through the miracle of cable teevee we’ve got cartoons everywhere, all the time.”
Then I started to think about it from a historical perspective. Saturday morning cartoons started when local teevee programmers started turning their lights on early sometime around 1950, recognizing that small children were attracted to the boob tube like babes to teat. Somebody in the advertising community realized that kids have enormous influence over their parents’ breakfast cereal purchasing decisions. Not coincidentally, Kellogg’s came out with Frosted Flakes and Sugar Pops in 1951 and Sugar Smacks in 1953. Also not coincidentally, the incubation period for diabetes is about 30 years, which is why this particular plague has been devastating the Baby Boomers for over 15 years now.
In the world of commercial broadcasting, invention is the mother of necessity. Local programmers had no budget for Saturday mornings so they put on cartoons that were in the public domain, including silent cartoons and the works of the Fleischer brothers – no wonder my generation warmed up to LSD in the late 60s.
It didn’t take long for the network programmers to notice, and it didn’t take long for the packaged food industry learned just how seductive the phrase “pre-sweetened” was to baby Baby Boomers. Chocolate milk enhancers, flavored straws, powdered sugar candy, and something called “Maypo” which, in fact, was actually maple-flavored oatmeal. It was created in 1953, but its 1956 television commercial with the catchphrase, “I Want My Maypo” (animated by the legendary John Hubley) quickly became the most obnoxious thing uttered by children en masse since Woody Woodpecker’s laugh. It is no surprise that most, if not virtually all, such products featured cartoon characters or cartoon-like characters that could be used in animated commercials.
Nostalgia for one’s childhood delights is a powerful force, and not always a force for good. Nonetheless, it is a strong part of our popular culture business and of the comics racket in particular. Look at all the comic book revivals of GenXers’ cartoon shows such as G.I. Joe and Transformers.
Sure, now we’re worried about this “health” thing. Now that we’re craven sugar addicts. And, yeah, I blame Saturday morning cartoons for being the delivery system. But I am not pissed about it. I enjoyed all that shit.
Sugar Smacks became Honey Smacks which became, simply, “Smacks.” Personally, I would have changed the Smack word and kept sugar. But they didn’t sell opiates on Saturday morning teevee.
It’s interesting to watch Green Arrow thrive on television in ways he could only envy in the comics. After being a second string character for much of his career, he seemed to work well first on Smallville, and now on his own series, Arrow. The problem, though, with being a B-lister for decades is that his rogues’ gallery is woefully weak and therefore the show’s producers have to dip into the rest of the DC mythos to fill out his world.
The show’s third season gets underway shortly and Warner Home Entertainment has recently released Arrow: The Complete Second Season in a nice box set. Here, we can review all 23 episodes to see how things have evolved as Oliver Queen goes from vigilante to hero while his allies grow in number.
One of the things that has been a struggle in comics for the last era or two is that a hero can’t realistically maintain a secret identity. Ollie (Stephen Amell) needs allies and with that comes trust. So, we went from Diggle (David Ramsey), in the first season to Diggle and Felicity (Emily Bett Rickards) by season’s end. This year, Roy Harper (Colton Haynes), Canary (Caity Lotz), and Laurel (Katie Cassidy) have come to know Ollie’s alter ego. Argus’ Amanda Waller (Cynthia Addai-Robinson) somehow knows, too. Heck, even newcomer Barry Allen (Grant Gustin), visiting from Central City, knows the truth. So, it’s telling that as the season ended, the one who still doesn’t know, his sister Thea (Willa Holland), is the one to vanish, a thread left unknotted until this fall.
The show has also nicely plundered Batman’s resources as Huntress (Jessica De Gouw) returned and we met Nyssa al Ghul (Katrina Law), setting up this coming season’s arrival of Ra’s al Ghul himself. But first, old business needed addressing and much of the season’s meta arc dealt with Slade Wilson, Deathstroke (Manu Bennett), exacting revenge against Ollie, blaming him for Shado’s (Celina Jade) death and worked with Isabel Rochev (Summer Glau) to take down both Queen Consolidated and the Queen family, which climaxed with the death of Moira (Susanna Thompson), Ollie’s mom. As for Thea, her world was shattered when she learned her true father was Malcolm Merlyn (John Barrowman), who conveniently returned from the dead.
The episodes stir the pot with verve and alliances rise and fall with long-simmering threads spun out across the weeks and months. We’re even teased with the hint of an Ollie/Felicity romance even while he and Canary got nice and cozy. On the other hand, the cast has grown so large, supporting teams of players in the present and an almost separate collection in the flashbacks, that some shows feel overstuffed, losing focus. While I appreciate the need to spotlight Diggle now and then, bringing in his wife, her connection to Waller, and the formation of the Suicide Squad felt more of a distraction than a strong storyline on its own. Both Thea and Roy were underserved by the scripts this year.
That said, I do want to applaud the two-parter that acts as prelude to this month’s The Flash series, and the way they subtly continued those subplots through the final episode. Speaking of which, the finale was one of the best action episodes of prime time I’ve seen in a long time so kudos to the writers, cast, and stunt performers for making it exciting.
The transfer to high definition is fairly seamless and a joy to watch, accompanied by the strong DTS-HD Master Audio 5.1 surround track.
The four-disc set comes with some standard extras, most of which are diverting enough although none are Must See viewing either. We have From Vigilante to Hero (24:00), an examination of the season’s design; The Visual Effects of Arrow (11:00), exploring how the night scenes, explosions, and action is brought to life; and, Wirework: The Impossible Moves of Arrow (10:00), a companion feature focusing on the stunts. There are, of course, Deleted Scenes, culled from “City of Heroes,” “Identity,” “Crucible,” “Keep Your Enemies Closer,” “State v. Queen,” “Three Ghosts,” “Tremors,” “Heir to the Demon,” “Time of Death,” “The Promise,” “Suicide Squad,” “The Man Under the Hood” and “Unthinkable.” And we have the requisite Gag Reel (5:00). Finally, there is edited footage from Arrow: 2013 Comic-Con Panel (26:00).
David Fincher is a fantastic director who has spent most of his career making movies I don’t particularly care for. Not because they’re bad but just because I’m not interested in the story he’s telling. I wasn’t interested in The Social Network, I had no patience for The Curious Case of Benjamin Button, and I never quite got swept in the madness for The Girl with the Dragon Tattoo. Panic Room was the last film that I was truly excited for and even then I waited for it to be on cable. I’m back in the fold in a big was now though, Gone Girl is an exceptional film and a worthy kick-off to awards season.
Static Shock! The character created by Denys Cowan, Derek Dingle, Christopher Priest, Dwayne McDuffie and myself is on its way the big screen!!
Soon and I mean very soon, Virgil, Richie and Sharon will be given their long overdo due on the big screen! I’m ecstatic, delighted, and blissful that finally my friends and family will be able to sit down in a theater and rejoice in the wonder that is Static Shock!
Sookie, Sookie, now!!!
Err, white people ask somebody.
Get on the good foot!
Ditto.
Can you feel it?
Perhaps it’s best you have a black person read this to y’all.
I need to testify!
Yeah, that would be best.
Can I get a witness?
Look, just call Leroy and stop punishing yourself.
I’m king of the world!!!!
That one you should have no problem with. Think big boat, Leo & Kate.
Man oh, man, I still can’t believe Static Shock will finally coming to the big screen.
Thank You Jesus!
I just brought an 80-inch flat screen and as soon as it’s hooked up, Static Shock will be all over my home theater.
Why on earth would anyone want to do a movie or live action television show on one of the most popular animated shows ever?
Don’t be silly, people. I mean just because today (well as of this writing, that today, lord knows when I will or if I will finish this. It’s only by the grace of Go…. Gold I still have a forum here. Yeah, I’ve had a rough year but a weekly article every now and whenever? That can’t last much longer.
But I digress. Check’s in the mail, Mr. David.
I ask again, why on earth would you want to take the most successful black superhero in the DCU and make a movie out of it? Why just today, (maybe) Entertainment Weekly named Static Shock one of be best-animated shows ever from a comic book.
Is you stupid?
That makes no sense when you can make Superman Icon Black. Batman, Black the Flash’s wife Iris, Black, Spider-Man half-black, Captain America, all-black, The Avenger’s Black. It makes no sense what so ever!
I ask yet again, is you stupid?
Why make a movie when could simply colorize the movies made out of all the above? Duh. Shit we have plenty of great black superhero movie which all made mucho bucks! In the thousands and thousands of dollars!! Who can forget the great Blank Man? Solo? Meteor Man? Shit! Don’t forget Warner Bros. and DC did the daddy of all black superhero movies.
How could anyone forget Steel?
I can’t and lord knows I’ve tried but that film is engrained in my mind. Shaq’s a friend and I remember the very day he asked me what I thought. I was so moved by that picture my answer was to start weeping like a little girl. A little girl remembering the say I saw my best friend, my puppy purposely run over by my beloved daddy.
I know, I know, there are millions of Static fans; in fact the ‘movie’ poster running with this article is an example of fans making their own Static Shock films. There are dozens maybe hundreds perhaps thousands of fan films out there.
If you go to https://twitter.com/ReviveStatic you will see another in a long line of fan attempts to see Static made into a TV show or film. That’s just silly! I mean why not continue to make movies like the one about the Black Superman (Steel…sniffle) where Steel (the Black Superman, sniffle), sorry I need a moment…
Like I was saying; why not continue to make movies like the one about the Black Superman (you know the one) where the Black Superman doesn’t even get to wear the ‘S’?
Now that’s way to use the old Hollywood noodle!
Also, who needs a movie about a hip young mega successful Black superhero that already has a massive fan base? Nobody obviously, not when you can make fantastic superhero TV shows where nobody’s really a superhero or wearing a costume?
Well, the TV’s on the wall, the popcorn is ready and the lights are out!
It also seems the lights are out at Warner Bro’s but after a long day of developing Green Lantern 2: The Rise Of John Stewart they deserve a good nights sleep.
Or maybe they’ve had enough sleep. They’ve been sleeping on Static for over 20 years.
We are back with the cast of AGENTS OF SHIELD to talk about how they planned ahead for the events which unfolded in CAPTAIN AMERICA WINTER SOLDIER and what it is like to live, eat and breathe all things Marvel. Plus we start our coverage of New York Comic Con with a preview of some treats you’ll find at the show.
We will be back early this week (Wednesday) with another podcast right before we hit the show floor. And if you can’t make the show, we are carrying LIVE video feeds from NYCC at our website, GetThePointRadio.Com starting on Thursday. Don’t miss a minute.
Increasingly, studios want you to stream or buy your own digital copy of feature films and to entice you, that edition is being made weeks prior to the physical disc being available for purchase. In an effort to direct viewer buying and viewing habits, studios are also shifting review copies from disc to high definition download. My first encounter with this brave new world, ironically enough, comes with 20th Century Home Entertainment’s current release of X-Men: Days of Future Past, the sprawling, epic film from May. The biggest drawback is making certain you have enough hard disc storage for the mammoth file and a set-up that allows you to watch on a huge screen. Lacking that, I watched the film on my 24” external monitor and while the image was crisp and the audio clear enough (although maybe I need to upgrade my speakers); it needs a bigger screen to properly appreciate.
Bryan Singer returned to the franchise and pulled out all the stops, successfully adapting the Chris Claremont/John Byrne story while seamlessly integrating it with the four preceding feature films. He directed the first two while Brett Ratner mishandled X-Men: Last Stand and Matthew Vaughn wonderfully rebooted the franchise with X-Men: First Class.
As we toggle between past, present, and future, we understand that in the 1970s, Bolivar Trask (Peter Dinklage) convinces Congress to fund his Sentinels program to root out mutants, who threaten “our” way of life. Once his program goes live, it grows, morphing with the times, until the future is a dark land of devastation, with the last handful of mutants on the run and losing their battle with extinction. In a final desperate act, Kitty Pryde (Ellen Page) uses her powers (in ways that never quite made sense) to send Wolverine (Hugh Jackman) back in time to derail the program. In order to do this, he needs to reconcile Charles Xavier (James McAvoy) with Erik Lenscherr (Michael Fassbender) but first, Magneto needs to be freed from confinement under the Pentagon and to accomplish this, they need help from young mutant Pietro (Evan Peters).
It becomes several races against time as ideologies are heated debated in one era while the Sentinels locate the planet’s last mutants and approach, forcing many a heroic sacrifice to buy Kitty the time she needs to keep Wolverine in the past, protected by Xavier (Patrick Stewart) and Magneto (Ian McKellan).
The casts are blended fairly well and even though the story may make a civilian’s head throb; it’s a fairly coherent story, well-told thanks to a strong script largely from Simon Kinberg, Singer’s direction, and a cast that is up to the task. It’s nice to see familiar faces such as Halle Berry’s Storm and cameos like Kelsey Grammer’s Beast. Page is under-utilized here, sweating and trembling but given little else to do. As befits his stature in the Marvel Universe, it’s really Wolverine’s story and Jackman is up to the challenge, once more better served in the ensemble than either of his solo films. The other spotlight is on young Mystique (Jennifer Lawrence) who is trying to carve her own path which sharply diverges from that of her mentor, Xavier. She becomes the threat that needs stopping, not Trask and Lawrence is deadly and vulnerable at the same time.
The high def version and forthcoming Blu-ray features several nifty extras, starting with an extended Kitchen sequence (6:00) that got trimmed but explores many of the film’s issues and themes as debated between Xavier and mystique with Beast (Nicholas Hoult) and Wolverine mere bystanders. There’s a fun Gag Reel (5:36) and a handful of deleted scenes that should be viewed with Singer’s commentary. (Be warned, just as this became available for sale, it was announced an extended version was to be released next summer, integrating these scenes including the Rogue [Anna Paquin] sub-plot that caused some controversy when dropped.) There are also some nice images from the Trask Industries archives.
Over the past three decades, there has been a steady rise in the share of women, especially mothers, in the workforce. [Collected data shows that] the majority of women and mothers work, and many work full time and full year. This dramatic increase in women’s working hours has had a substantial impact both on household earnings and the economy more generally. Our analysis finds that middle-class households would have substantially lower earnings today if women’s employment patterns had remained unchanged. Had that been the case, gross domestic product, or GDP, would have been roughly 11 percent lower in 2012 if women had not increased their working hours as they did. In today’s dollars, this translates to more than $1.7 trillion less in output – roughly equivalent to combined U.S. spending on Social Security, Medicare, and Medicaid in 2012. • The Economic Importance of Women’s Rising Hours of Work, A paper presented at the 75 Years of the Fair Labor Standards Act Conference at the Department of Labor, November 15, 2013.
The number of working-age women with a full-time job has surged from 28.6% in 1979 to 40.7% today, and the increase in working mothers in that time is even more remarkable – from 27.3% to 44.1 percent. So why the fuck do corporations go out of their way to alienate women, when all economic indicators point to the power of the dollar in women’s hands? Yep, those crazy people – “Corporations are people, too!” said Mitt Romney during the 2012 Presidential campaign – seem to do it all the time.
Last month it was that cover from Marvel. This month it’s DC Entertainment’s turn, with those t-shirts.
If you don’t know what t-shirts I’m talking about, take a moment to click here and read Martha’s column from Friday. Be sure to clink on the “stupid” link, which will bring you to The Mary Sue website, and the column which inspired Martha’s piece (and inspired this one) and includes handy-dandy pictures of said t-shirts.
Yeah. They piss me off, too.
You might think it’s weird that the woman who didn’t get upset about Spider-Woman’s butt is all pissy about t-shirts that proclaim maxims that belong in the 1950s and not in the second decade of the 21st century. But I grew up in the era of Bella Abzug and Gloria Steinem and bra-burnings. Okay, so I never actually burned my bra, but I sure as hell got the message, and I was all of 15.
And the message was: I belong to myself.
That was 45 years ago. Almost 46, since my birthday is in 19 days. And 45 years later, there is definitely a concerted effort happening. An effort to put women back in their place, back in the kitchen, just back.
On Thursday the United States Court of Appeals (Fifth Circuit, New Orleans) gave Texas “permission to require all abortion clinics in the state to meet the same building, equipment and staffing standards as hospital-style surgical centers,” which forced thirteen Texas abortion clinics to immediately close and leaving the state – “with 5.4 million women of reproductive age, ranking second in the country” – with only eight open clinics.
Listen up, people. Texas is full of crap. This is a total bullshit ruling. The way it reads makes it sound as if these clinics are nothing more than the dirty, dark, “back room” holes-in-the-walls of crumbling tenements in the worst part of the worst neighborhoods and ghettos in Texas, like the one that Natalie Wood goes to in Love with a Proper Stranger. I am here to tell you, truth to power, that abortion clinics must meet the same standards as any “hospital-style surgical center.” They are not staffed by fairy-tale witches holding out poisoned apples to Snow Whites or by cackling crones who haven’t washed their hands or seen a dentist in a hundred years. These clinics are non-profit centers run by caring health professionals whose only aim is to insure the well being of the women who are their patients
Yeah, I know, I went off the rails a bit, but not really. It’s all the same thing, really. Closing abortion clinics, DC Comics t-shirts, it’s all about fear of loss.
It’s the classic time travel question – would you kill a dangerous killer in their crib, before they’ve actually done anything? Well, what is you weren’t sure the baby was going to do anything? What if you were asked to…
KILL THE MOON
By Peter Harness
Directed by Paul Whilmshurst
Clara speaks to the entire Earth – they run the risk of the Earth being destroyed if they don’t kill an innocent being. “The man who normally helps” is nowhere to be found, and a decision must be made. Flashing backwards, we learn that Coal Hill student Courtney Woods has not reacted well to her brief run on the TARDIS. The Doctor told her she “wasn’t special”, a comment she’s taken to heart. Clara asks him to apologize; he instead offers her a chance to be the first woman on the Moon.
Alas, all is not well there.  In 2049, the moon has mysteriously gained 1.3 billion tons of extra mass, causing staggering tides on Earth. It turns out the moon is something altogether new to The Doctor’s eyes, and rather than help…he walks away.
This was a very dark episode with a bright ending, only to reveal that light at the end of the tunnel is an oncoming train. I expect we’ll see this story used in argument for certain social issue quite soon now. Fabulous performances all round.
GUEST STAR REPORT – Hermione Norris (Lundvik) is well known to British audiences for many regular TV appearances in series like Spooks and Cold Feet.
Tony Osoba (Duke) – is one of a smallish group of actors who’s appeared in both the new and original run of the series. He had roles in both Destiny of the Daleks and some years later in Dragonfire.
Paul Whilmshurst (director) will be back next week, and will be directing the Christmas episode. He has a long resume of TV directing, both drama and reality/documentary.
Peter Harness (writer) has been writing for British television for nearly a decade now. He wrote and appeared in a TV movie about British comedy legend Frankie Howerd, who was played by Who-lumnus David Walliams.
THE MONSTER FILES – The Moon has been the setting of many Who adventures over the decades. It first threatened the Earth millions of years ago, where the dominant life form of the Earth, who would come to be known as Silurians, feared a monstrous asteroid would crash into the planet. They set themselves up in massive hibernation cities to sleep through the disaster, only for the heavenly body to be trapped by the Earth’s gravity and become the Moon. That change to the delicate balance of the orbital mechanics of the solar system was enough to allow the planet Mondas to break free of its orbit, returning millennia later as The Tenth Planet. There have been many bases on the Moon, built and manned by both human and alien forces. The Cybermen tried to attack one in an appropriately titled episode. It would be used as a penal colony, house River Song’s alma mater, and eventually, we’d haul in four more for additional real estate. Needless to say, there’s never been any mention of it hatching a titanic alien and leaving another one in its place, but that’s the sort of thing that gets forgotten when you’re trying to fight off Draconians.
Doctor Who has had its share of spidersas well, even if in this case they’re just bacteria that resemble spiders, by some mad coincidence. Brought with human explorers in the future, spiders would evolve to control the world of Metebelis III, eventually known as the Planet of the Spiders. The Racnoss were a semi-arachnid race who planned an overthrow of the world, stopped by the able assistance of The Runaway Bride.
BACKGROUND BITS AND BOBS –
SET PIECES – Rather than go for the old reliable stone quarry, the production team traveled to Lanzarote, part of the Canary Islands off Africa, to duplicate the surface of the Moon. It was last used in the Davison adventure Planet of Fire.
I WEAR THE CLOTHES OF THE REGENERATED – Capaldi is wearing David Tennant’s spacesuit from The Satan Pit, a suit which is rapidly becoming the most recycled prop on the show, gaining on that rock used on almost every alien planet in the classic series.
“No being sick and no hanky-panky” – Considering the last time there was…you know, what-not… on the TARDIS, it resulted in River Song, a clear example of a result which caused both happiness and hardship.
“You’ll have to spend a lot of time, shooting me, because I will keep on regenerating” – The Doctor may be bluffing when says he might keep on regenerating forever – he made a similar comment on The Sarah Jane Adventures when he was asked how many times he could do it. But the new energy infusion given him by the Time Lords is something new – it’s not known if it was enough for one, a whole new cycle of twelve, or a potentially infinite number.
“What is wrong with my yo-yo?” – The Doctor used a yo-yo to test gravity force during the Baker years, with the same color yo-yo, yet. I’ve mentioned before that this Doctor is using more gadgets, large and small, to get things done, not just relying on the Sonic Screwdriver, a change I love campaigned for.
“That’s what you do with aliens, isn’t it? Blow them up?” It’s not The Doctor’s primary method, but it’s come up a couple times. Prime Minister Harriet Jones, (Yes, we know who you are) contacted Torchwood to destroy the retreating Sycorax spaceship at the end of The Christmas Invasion. And after Leela recommended it the whole time, The Doctor suddenly “came up with the idea” of blowing up The Invisible Enemy.
“High tide everywhere at once” – Well, no. It’d be tides far higher than normal for parts of the Earth both facing and pointed away from the moon, and calamitous low tides at the sides.
“When I say run…run” – So much fun to see bits of the old Doctors pop up again. That was one of the second Doctor’s catch phrases, like in <a href=”
target=”_blank”>this clip from Tomb of the Cybermen.
“There are some moments in time that I simply can’t see” This is a new take on the old reliable “Fixed Point”, where crucial points in history exist, chronal tipping points that cannot be changed. But here, rather than just walking away, here he forces three humans to make a choice that will damn the world, either physically, or by making them party to genocide.
“My Gran used to put things on tumblr” There actually is a girl named Courtney Woods with an account on tumblr, and I expect she’s getting an amazing increase in traffic right now. The Doctor Who tumblr community is amazingly vast and creative, featuring animation, art and filk music. It’s neat we’re finally getting a shout out.
“The last time you said that, she turned up on the wrong side of the planet!” – Clara is referring to the events of Cold War, where the TARDIS popped off to the south pole because The Doctor turned on the HADS, or Hostile Action Displacement System.
“There’s some DVDs in the blue bookshelf – just stinck on in the TARDIS console, it’ll bring you to me” There are exactly seventeen DVD titles containing the program that will automatically return the TARDIS to The Doctor’s location. They are the seventeen DVDs owned by Sally Sparrow, as revealed in the classic Blink.
“We didn’t nip out after pudding and kill Hitler” River Song, or rather Mels certainly tried that one time.
“Turn your lights off” – Real world physics get in the way here. Luckily, when they see the moon from Earth at the end of the episode, it’s full, which means it’d be behind the Earth. That’s backed up by the fact that the Moon is fully lit throughout the episode. This means when they were looking at the Earth, they’d be looking at the side in night  If they were on the other side, they’d never be able to see the lights. But unless my math is wrong, 45 minutes is not close to enough time for the light-up votes of the entire Earth to be seen – only an additional sliver of the Earth’s circumference would com around.
“Mind your language, please – there are children present” I count one child. Whoever could The Doctor be referring to in the plural? Patronizing, indeed.
“You made your decision…humanity made its choice” Assuming the vote is the same on the bright side, the Earth chose to kill a beautiful and innocent creature to save themselves. That’s more than a bit similar to the choice the denizens of Britain made when they built the Starship UK in The Beast Below. Considering they made themselves all forget they did it then, maybe that’s a viable explanation why it’s so rarely mentioned in future history.
“Not bad for a girl from Coal Hill School” I for one am perfectly ready for Courtney Woods to come on full time as a companion. We’re seeing her make a massive change in just these two episodes. She’s not well educated, she’s an average kid. And as such is a more perfect avatar for the viewer than any of the adult companions we’ve seen in the entire new series. Companions are often younger in the comics for that reason. It’s likely the extra issues of a minor working on a TV show, especially one as intensive as Doctor Who that precludes such a casting choice, but for a girl for this this is her first professional acting job, Ellis George is more than up for it.
BIG BAD WOLF REPORT – Clara’s arc is once again the only one furthered this week. The blowout argument with The Doctor, combined with the heart-to-heart with Danny, certainly points towards a change of affiliation in the future.
“It’s time to take the stabilizers off your bike” there may be two levels of action happening here. The Doctor is forcing Clara to make a staggering decision. He is also causing a rift in their relationship. What are the odds that this is another attempt to push Clara to safety? It’s plainly obvious that Clara will do everything in her power to help The Doctor – she hung onto the outside of the TARDIS for an eyes-open trip through the time vortex in The Time of the Doctor. She’s already spent an unknown amount of time racing through his timeline, fixing what The Great Intelligence set wrong. Perhaps he knows she deserves a rest, and knows the only way she’d leave is if he all but pushes her away. As here, The Doctor is forcing Clara to make a massive choice.
“You wanna have babies?” Courtney’s teasing mention of Danny is spot on. Assuming he’s not something Clever and surprising from Moffat’s dark evil heart, the budding relationship between Danny and Clara is almost a certainty. There’s not much that could stop it – death, perhaps, or as mentioned, an inability to leave The Doctor.
“I’ve got Grey areas” “Yeah, I noticed” It sure sounds like a hair joke, but on further rumination, it’s pretty clear Clara is talking about the grey areas in The Doctor’s personality. This is an extension of that first question – “Am I a good man?”
That’s the quote from David Copperfield on Clara’s board. Once again, the choices of quotes Clara selects are amazingly prescient.
“I had a really bad day” – Yes, there’s absolutely a very big story to be told here, and there’s still a chance it may not be a good one for Clara and their relationship.
NEXT TIME ON DOCTOR WHO – The Doctor tests the little grey cells. Mummy on the Orient Express, coming this Saturday.
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