Tagged: Billie Piper

Mindy Newell: Jumping In On Doctor Who

doctor-who-series-10-5470946

The Doctor: “Time is a structure relative to ourselves. Time is the space made by our lives, where we stand together forever. Time and relative dimension in space. It means life… This is the gateway to everything that ever was and ever can be.
Bill: …Can I use the toilet?

“The Pilot,” Doctor Who, Second Series 10, Episode 1

 My daughter Alixandra has wanted to watch Doctor Who but she’s been intimidated by the idea of catching up with 50 years of the show’s history. Hey, who wouldn’t be? I told her to start with “new Who,” with Christopher Eccleston’s as the 9th Doctor, which was “only” 12 years ago (is it really over a decade already?) and that “Rose,” the first episode, would do a great job of hooking her into the basics – although she already sorta knows them, as she remembers me watching the Tom Baker years of Doctor Who when the show aired on Saturday mornings on Channel 13, the New York City PBS station.

She was very young then, not much more than a toddler, so that was a surprise to me – as well as a lesson to grown-ups: be careful what you say around the young ‘uns. Apparently, little pitchers really do have big ears.

I also sent her a list of shows from a website I found, “Desperately Unrehearsed,” which lists every episode from the aforementioned “Rose” to Matt Smith’s dénouement, “The Time of The Doctor,” with a pretty good opinion – at least one I basically agreed with – of what was essential and what was not (along with YMMV).

But I also just sent her a text: “The 10th series premiered Saturday night. It’s called “The Pilot,” and it might be a good place for you to start, as it introduces a new companion and reintroduces the basic ideas.”

She sent me back a “thumbs-up” emoji.

I texted her back a few minutes later, because I forgot to say in the first text: “Plus, Peter Capaldi.”

Fans of Outlander (me, included) are currently suffering from what is known as the “Droughtlander,” – the last episode of Season 2 aired on July 9, 2016, and the series is not returning to Showtime until September – but the wait for Series 10 of Doctor Who has been interminable. The last episode of Series 9 (“Hell Bent”) aired here in the States on December 5, 2015. We did get two Christmas specials, the first run three weeks later on December 25, 2016 (“The Husbands of River Song”) and the second (“The Return of Doctor Mysterio”) a year later.

Outlander is not even giving us that…

nardole-9372848But was the wait worth it?

“The Pilot” was not only a singularly great show all by itself, it was also a fantastic kick-off, with past and future colliding – dialogue that was timey-winey-twisted; pictures of a lost wife and granddaughter; sonic screwdrivers from just about every regeneration collected in a jug; and a vault (reminiscent of the Pandorica box) that the Doctor is protecting.

The trailers featuring Pearl Mackie as new companion Bill Potts did not exactly excite me, nor did they do Mackie any justice. The “big” news that Bill is gay. However, and that’s a big however, I was completely charmed by Ms. Mackie and her character by the half-way mark of “The Pilot.” That is way faster than I turned on to Jenna Coleman’s Clara Oswald, Karen Gillian’s Amelia (Amy) Pond, and Arthur Darvill’s Rory Williams. The only companions that equal the speed with which I fell in love with Bill Potts were Elisabeth Sladen’s Sarah Jane Smith (of course!) and Billy Piper’s Rose Tyler.

I wasn’t all that impressed with Matt Lucas’s Nardole previously, not in “The Husbands of River Song” nor in “The Return of Doctor Mysterio.” But in “The Pilot,” Nardole came into his own; he is the bridge between the Doctor and Bill, and the bridge, I think, between the universe of Doctor Who and ours, the “Greek chorus” of the audience, of us.

Stephanie Hyman’s Heather, the girl with the star in her eye, was eerily beautiful, bewitching, chilling, and ultimately heartbreaking. And by the way, Ms. Hyman, kudos to you for playing 90% of your part soaking wet.

I also want to give a shout-out to “The Pilot’s” cinematography, editing, and special effects.

As for Peter Capaldi; well, im-not-so-ho, Mr. Capaldi will become, as he leaves the show behind and moves on with his life, one of those Doctors who will leave an indelible mark upon the character and the 50-year history of Doctor Who. If you must go, Mr. Capaldi, then you must…

But I wish you weren’t.

 

John Ostrander: Happy Christmas, Doctor Who

doctor-who-christmas-special-2986806

There are all kinds of traditions connected to Christmas. One tradition in our house is the Doctor Who Christmas Special playing here on BBC America. If you don’t know, Doctor Who is the looooong running BBC series about an alien time traveler and his (usually) human companion(s) who all travel through time and space having adventures. The Doctor regenerates into a new body – and a new actor – when his current body is at its end. If you don’t know the series and/or don’t care, you can probably skip this column.

There was a sort of Christmas Special as far back as the first incarnation over a half-century ago, but mostly it’s only been over the last ten years. The latest one will be tonight (if you’re reading this on Sunday). The first in this series began after the show returned from a sixteen-year hiatus and featured the Doctor’s tenth incarnation, played by David Tennant, and his companion, Rose Tyler, played by Billie Piper, and Rose’s mother and her ex-boyfriend. The episode was also our introduction to this incarnation, the Doctor having just regenerated in the previous episode.

It’s a good, solid, interesting episode, establishing the new Doctor’s persona. The plot is about an alien invasion (the episode is called “The Christmas Invasion”) and written by showrunner Russell T. Davies; it’s sturdy enough and there are some nice Christmas touches like a Christmas tree that becomes a spinning instrument of death. The Doctor is recovering from his transformation and is in a coma for most of the show but when he finally snaps into action, it’s a treat.

By the following year, the Doctor has just parted with Rose Tyler and is feeling mopey when a woman in a wedding dress just materializes in his TARDIS. The woman is Donna Noble (Catherine Tate) and she is “The Runaway Bride.” She’s outraged, abrasive, and very rude to the Doctor who she holds responsible for her abduction. Russell T. Davies again did the scripting and this one is a hoot. I’m a big fan of Donna and was very pleased when she eventually returned as a full-time companion.

The next year brought us “Voyage of the Damned,” again written by Davies. The Doctor, temporarily without a companion, finds himself on an alien, space faring replica of the Titanic during a Christmas party. Why would aliens have a Christmas party and a replica of the Titanic? Just go with it.

There is, of course, a disaster and the Doctor must lead a group of passengers in a “Poseidon Adventure” like attempt to get to safety. One of them is a waitress, Astrid (played by pop singer Kylie Minogue) who looks as if she will be the next companion. Alas, no. Too bad; I thought she had promise. It’s fairly somber for the season and really could have been set at any other time. It’s okay but only okay.

Christmas Special #5, again scripted by Davies, is “The Next Doctor.” Our Doctor travels to Dickensian London and encounters someone who could be his own next incarnation. Interesting concept. He also encounters an old foe, the Cybermen, including a gigantic robo version. That part is sort of weird but there’s some very nice touches in the episode including David Morrisey as the “Next Doctor” who showed he could have played that part very well. The ending is kind of goofy though and I found it far fetched… which is saying something for this show.

Onward. The following year presents up with “The End of Time” and it is both David Tennant’s and Russell Davies’ respective swan songs. It’s a two-parter with the first half shown on Christmas and the second half on New Year’s Day. Put simply – this one is a mess. I won’t pretend to explain it because I’m not sure I fully understand it. David Tennant’s Doctor gets a “farewell tour” at the end when he should simply be dead. It is interesting to note that Tennant’s tenure began in one Christmas Special and ended in this one.

Stephen Moffat became showrunner the following season and Matt Smith replaced David Tennant as the Doctor. I run hot and cold on Moffat; sometimes he is simply brilliant and other times he’s too clever by half. He got into taking other Christmas stories as the inspiration for what he’s writing in his Specials. This year it was A Christmas Carol and the episode was also titled “A Christmas Carol.” It takes place on an alien planet and, among other things, features sharks that swim in the atmosphere. Over all, more than a little odd and, for me, it doesn’t really work.

On the other hand, the following year brought us the “good” Stephen Moffat. This episode. “The Doctor, the Widow, and the Wardrobe” takes its cue from C. S. Lewis’s classic Narnia story “The Lion, the Witch, and the Wardrobe.” This one is really good; simple straight ahead plot, touches of comedy, and deeply felt emotion with a nice bit at the end that makes me tear up.

The following year’s offering, “The Snowmen,” introduces the young woman Clara (played by Jenna Coleman) who, in slightly different form, will be the Doctor’s next companion. The Doctor has suffered a devastating personal loss and has retreated to Victorian London and is in seclusion. He wants no part of the world. That, however, wouldn’t make for very interesting TV and Clara, through her spunk, draws him out. I’m not as crazy about Clara as Moffat seems to be but this episode works all right. The setting is fun ans the supporting characters are great, especially the alien butler, Strax. I love me some Strax.

Which bring us to the ninth Christmas Special, “The Time of the Doctor.” This is Matt Smith’s swan song as the Doctor and it’s too bad because the episode is wretched. There is a planet called Trenzalore that has a town called Christmas filled with humans. Why? Who knows? Moffat tries to reconcile every offhand prophecy and prediction he made along the way about how this Doctor would end and its labored and beyond incredulity.

Next Christmas is better… but not by much. It’s called “Last Christmas” and it starts with Clara, on the outs with this Doctor (now played by Peter Capaldi), encountering Santa Claus on her roof on Christmas Eve. The Doctor shows up and he and Clara go off to the North Pole, not to Santa’s workshop but a research station that’s having the crabs. Well, crab like aliens. Things happen within dreams and there are dreams within dreams. Somebody else sort it out; my brain hurts.

Last year we had “The Husbands of River Song” and this may be my favorite of the Christmas Specials. It features the inestimable River Song, played by the inestimable Alex Kingston. River is the time-tossed daughter of the Doctor’s former companions Amy and Rory and, by the way, she’s also the Doctor’s wife. She has a way of traveling through time and she and the Doctor keep meeting in a non time linear fashion so they always have to check where they are in their own time lines in the diaries they keep for this purpose. (“Spoilers!”) At this point, she has not yet met this incarnation of the Doctor and therefore doesn’t recognize him. The adventure is fun and outrageous (with River, things often get outrageous) and ends perfectly – romantic and sadly sweet.

This year is titled “The Return of Captain Mysterio” and, from the previews, it appears to have a masked and caped superhero (supervillain?) which definitely is not usual for Doctor Who.

Over all, I’d have to say that while some of the Specials were indeed Specials, some tried too hard to be “special” and as a result were not. The good ones, however, were really good. We’ll see what Santa Moffat has left under the tree for us this year. Naughty or nice?

So – while I’m here – let it be said before I fade out of sight,

a Merry Christmas to all…

… and to all a good night!

John Ostrander: A Good Penny

penny-dreadful-2109068

I usually don’t watch horror films or TV shows, and that might surprise some people. After all, I’m known to have written some horror stories, such as DC’s Wasteland. My standard response is that I would rather give nightmares than get them. A bit flip perhaps, but largely true. I have an active imagination (from which I make my living) and the concepts and images from a horror story can stick in my head long after I’ve seen the show.

For example, I went to see The Exorcist when it first hit the movie theaters and, oh my, it played heavily on the atavistic fears of my Roman Catholic altar boy choir boy upbringing. I slept that night with the lights on despite being of college age. Actually, I was in bed but I didn’t sleep that much. Part of me was convinced that the ol’ debbil was gonna git me.

This is an explanation of why I didn’t watch Penny Dreadful when it first showed on Showtime. Recently, however, I got a chance to get caught up with the first two seasons. I didn’t binge watch them; the most I could take was two episodes at a sitting. I found them too unsettling.

The show is set in Victorian London and deals with a number of supernatural threats. A team of sorts is drawn together including an African explorer (Sir Malcolm Murray), his mysterious African servant (Sembene), a witch (Vanessa Ives), an American gunslinger (Ethan Chandler), Dorian Gray (of The Picture of fame) and Doctor Victor Frankenstein and his Creature(s).

If that sounds reminiscent of League of Extraordinary Gentlemen, well, it is… in concept. It is also extraordinarily well done. The show’s creator is John Logan and, I believe, he has also written all the episodes. You may know Mr. Logan from his work on other movies such as Skyfall and the upcoming Spectre, as well as Hugo, Rango (such an odd and interesting film!), and Gladiator among many others. A very talented writer and that talent is in full display here.

The production values are first rate – the sets, the costumes, all the details. Think Downton Abbey with vampires. The cast is also primo – and you have an odd James Bond connection with Timothy Dalton (Bond at one time) playing Sir Malcolm and Eva Green (who was Vesper Lynn in Casino Royale) joining John Logan. Harry Treadway, who plays Dr. Frankenstein, was also in the TV mini-series about Bond’s creator, Fleming.

Josh Hartnet portrays Ethan Chandler, the American gunslinger with a dark and secret past. Despite that past, the character is one of the most decent persons in the show. Sembene is portrayed by Danny Sapani who shares a Doctor Who connection with Billie Piper (Brona, Lily) who, of course, was Rose Tyler on Doctor Who. (Yes, I’m nerding out.) You see quite a bit more of Ms. Piper here. Quite a bit more.

I don’t know Reeve Carney who appears as Dorian Gray, but he’s very effective in a very unsettling role.

My favorite character, however, is Frankenstein’s Creature, played by Rory Kinnear (another Bond connection – he’s been Tanner in the last few Bond films). He is a monster, yes – he can be brutal and murderous and full of rage. He is also the most heart-breaking character in the show. He knows what he is and, by his very appearance, knows that he has no place where he fits in. He suffers most from ordinary humans (who can be the biggest monsters in the show). His longing, his despair, his rage all make him, as one character says of him late in the second series, the most human of them all.

The reason I like the show so much is the characterization. All the characters have multiple levels and all are flawed. My own theory is that you can’t really experience horror unless, on some level, you sympathize with the characters. If you don’t feel something for them, you won’t feel anything for what happens to them. You can be shocked, yes, but you don’t really feel anything. What is the point if you don’t feel? Horror is something that happens to people that we know. There can be sensation, sure, but if you don’t identify with those going through the horror, it means nothing. It’s just incident.

I should probably also mention that there is violence and sex and nudity (both male and female, although mostly female); this is pay-cable TV, after all. If any of that might bother you, give the show a wide berth. None of it ever seems gratuitous to me. I should also mention that the second season is even more unnerving than the first. A third season is projected for next year and I approach it with both anticipation and dread.

I realize that I’m late coming to the Penny Dreadful party but I think the show can be streamed and certainly it’s available on DVD and Blu-Ray so I feel justified in recommending it which I do most heartily. If I was writing horror for TV, this is the type of story I would like to tell.

John Ostrander’s Writing Class: Our Characters, Our Selves

I’ve had a chance recently to catch some, not all, of Showtime’s series, Penny Dreadful, and I’ve enjoyed it quite a bit. It takes the same concept of Alan Moore’s League of Extraordinary Gentlemen (combine genre characters from the Victorian Age into a single story) and uses it with mostly horror and supernatural characters and elements, again in Victorian London.

The “real” penny dreadfuls were the pulp fiction of their day, precursors to the pulp magazines and also comics. The TV series was created by John Logan (who, among other things, wrote Skyfall and will be writing the next two James Bond films as well) and is the co-executive producer along with James Bond director Sam Mendes (he also directed The Road to Perdition).

There are also other Bond connections, including Timothy Dalton as the African explorer Sir Malcolm Murray, who is the father of Mina Murray, who just happens to be a character in the novel Dracula. Eva Green, who was the “Bond Girl” Vesper Lynd in Casino Royale, plays Vanessa Ives, a medium and possibly a witch. Among interest to we pop culture geeks would also be Doctor Who’s companion Billie Piper as a prostitute with a possibly very dark future.

The show also features Victor Frankenstein and his creature(s) as well as Dorian Gray and a werewolf. To say more would spoil the story for those who have not yet experienced it. The show is well acted, well directed, well written and with first class production values. First class altogether as well as being suspenseful, creepy, and shocking.

What I like most about the show is the complexity of the characters. No one is wholly admirable nor wholly despicable. One of my favorite characters is Frankenstein’s Creature, who sometimes goes by the name Caliban; he is tragic and sympathetic and dangerous all at the same time. You learn things about all the characters and you’re not sure you should root for them – but you do.

All of which really leads up to the true topic of this week’s column – creating complex characters. It is both easy and difficult. It falls back to one of my cardinal rules – we write what we know, especially about people and life as we have experienced them.

What defines a given character is what they want and what they are willing to do to get what they want. By want, I mean really want – not just sorta kinda want. What do they need, what do they desire, what do they lust for, what must they have? Something primal. The more intense the want (the motivation), the better it will drive the story. The reader must not only know what the character wants, they have to feel it. They must feel the desire behind it.

What prevents the character from getting what they want (at least initially) is what makes the story. That’s the conflict. How the character copes with that conflict reveals what their true character is. Same as in life. If the need were easy to satisfy, the story would be quickly over.

Sometimes the conflict is with a person (the antagonist), sometimes an object (a mountain), sometimes a situation (a hurricane, for example). Think of your own life. What is most likely to keep you from getting what you want? As often as not, the answer is you yourself. You have doubts or fears but what is most likely to get in your way is a competing need. You want A but you want B as well and they are mutually exclusive. However, your inner child wants both. That conflict has to be resolved for the story to reach its climax. What we choose, what the character chooses, tell us and tells the reader who the character truly is.

Character exists within opposites. Never try to explain them away. Make the reader feel both desires and identify with both. State them, dramatize them, play with them before you resolve them.

Keep in mind that there may be more than two conflicting wants; in life, we may have dozens. Not all of them have to be resolved; only the main ones. Also keep in mind that it is not only your protagonist that has these conflicting needs; all your characters should. It should be true in your stories because it is true in life; it’s never simple, it’s never easy, it’s never neat and that is what makes it fascinating. Conflict is not just external; it’s internal. Apply what you know to the characters you write.

That’s the job.

 

Doctor Who 50th anniversary special to be simulcast globally

  • News
  • July 27, 2013

bosj6-7106346

Initially reported by UK tabloid The Sun and quickly verified by the BBC, the 50th anniversary special episode of Doctor Who will be broadcast simultaneously across the world, touted as the largest simulcast of a drama ever.

The special has been sold to approximately 200 countries, so the amount of timing and cooperation required will be quite high.  Sources say the move was done to eliminate any chance of spoilers for people in countries who traditionally receive the episodes after the initial broadcast in the UK.

This would put the broadcast spread across four hours of the early afternoon (depending on time zone) in the United States, and in the early hours of the 24th of November on the far side of the world like Australia and New Zealand.

The special will be broadcast in both 2D and 3D.  Complete details have not been released on which version will be broadcast in which markets.  The special features the return of David Tennant and Billie Piper as The Doctor and Rose Tyler, as well as classic villains The Daleks and Zygons.  At San Diego Comic-Con, showrunner Steven Moffat claims he’s been “lying through his teeth” about what and who is in the episode, resulting in the resurgence of rumors of other unreported cameos, including Paul McGann as the Eighth Doctor, making only one on-screen appearance, in the Fox-produced TV movie.

When the 20th anniversary episode The Five Doctors was produced in 1983, it did not receive a similarly-coordinated release.  Indeed, American fans got to see the special BEFORE the UK.  The network of public television stations who were broadcasting the series got permission to show the special on November 23 exactly, which was a Wednesday.  The BBC didn’t show it in the UK till that Saturday, the traditional day of broadcast for the series in England.  By  a wonderful coincidence, November 23rd falls on Saturday this year, allowing the anniversary to take place on the day it originally aired with no schedule-juggling.

This plan is not only a huge PR coup for the BBC, it’s also a wonderful example of life imitating art.  In Last of the Time Lords, Martha Jones walked the Earth for nearly a year, spreading the tale of The Doctor, in preparation for everyone on the planet to think about him and chant his name at a precise day and moment, the resulting wave of psychic energy intended to give the Time Lord the power to undo the actions of The Master and save the day.  With the BBC setting up to do the very same thing, one can only wonder what the real-world wave of power might do.

Personally, I’m hoping it’ll provide the power to jump-start the working TARDIS that the BBC Radiophonics Workshop has secretly been working on for years.

Related articles

A Doctor a Day – “Dalek”

dalek-5464984

Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode, The Snowmen.

Mr. Henry Van Staaten owns the Internet.  He also has a museum of alien artifacts under Utah, including a Slitheen claw, a Cyberman head, and a…

DALEK  
by Robert Shearman
Directed by Joe Ahearne

“Broken…broken…hair dryer…”

The TARDIS lands in 2012 (!) in Utah, or more precisely, under it.  They’re in the personal horde of Henry Van Statten, an impossibly rich American who obtains alien artifacts, reverse engineers their technology, and sells it for profit.  The Doctor picked up a distress call from his one living exhibit, a mysterious creature that Van Statten calls a Metaltron.  Only when The Doctor sees it does he realize what it truly is – a Dalek, which somehow survived the Time War and fell back in time to Earth, damaged and alone.  The Doctor immediately tried to destroy it, but Van Statten, not wanting his most valuable item damaged, stops him.  But when Rose tries to reach out to the creature, touching it, the Dalek is able to user her DNA, charged with the energy of time travel, to restore its systems.  In seconds it breaks free of his chains, absorbs the power grid of the western United States, and downloads the Internet, searching for information about his people.  Finding nothing, it resorts to the primary command of all Daleks: exterminate.

Pretty much as soon as the new show was announced, questions came up as to when the Daleks would appear.  The show was shot into the stratosphere once the Daleks appeared, and they’ve been linked inextricably ever since.  The Daleks almost didn’t make it to the new series of Doctor Who, and it was all Steve Martin’s fault.  When he was to appear in the film Looney Tunes: Back in Action, he insisted they include a Dalek in a madcap scene full of old movie aliens.  He was a big fan of the series, and thought it’d be a nice tip of the hat.  Permission was asked, but the estate of Terry Nation, who controls the rights to the characters, was not.  This caused offense, so when the BBC asked to bring them back for the new series, the estate originally refused.  When Steve Martin heard about it, he wrote a personal letter to the estate explaining the situation, and apologizing personally.  This calmed everyone down, and the proper paperwork was signed to allow the characters to appear.  But for about a month, Robert Sherman was forced to work on a draft of the script with another alien.

The new Dalek was designed to match the height of Billie Piper, so she could look it in the eye.  Similarly, the New Paradigm Daleks were designed to match Karen Gillan’s eyeline.  But in a recent interview on the BBC website, Steven Moffat wonders that making them too big was a mistake. “They’re scarier when they’re wee”, he says.  The scene of the Dalek at the bottom of the stairs was a clear reference to the classic gag about not being able to climb stairs. But of course, in the original series, Daleks had found a fix for this long since. They had anti-gravity mats in Planet of the Daleks, but the big reveal in Remembrance of the Daleks as the Imperial Dalek slowly floats up the stairs was the scene that had fans laughing and squeeing.

Nicholas Briggs, the voice of the Daleks, got his start working on fan productions and the Big Finish audio dramas.  He’s also provided voices for the Cybermen, the Nestene and the Judoon.

Eccleston played the episode as positively bloodthirsty.  After several episodes of offering the aliens a chance to leave in peace, he does not hesitate to try to kill it.  His rage at the Dalek, and later at Van Statten is a sight to see.  Billie Piper has equally good scenes against the Dalek from the other side of the spectrum, trying to help the unstoppable tank who is trying to get the hang of feelings.  This could have been a perfect final Dalek adventure, but as you’ll see, they’re far from gone.

There are a lot of parallels between this episode and the first of this season, Asylum of the Daleks.  Both this Dalek and the tragic prisoner in Asylum are kept in chains, and both are more than a little conflicted by being a mix of human and Dalek.  Both are capable of amazing destruction all on their own, even as far below the surface of their respective planets.  The idea of human and Dalek hybrids has been a theme as far back as Evil of the Daleks, where The Doctor introduces a “Human Factor” into a number of Daleks to start a civil war between factions.

Related articles

Torchwood Two Trailer

  • News
  • December 21, 2007

Over at Freema Agyeman’s eponymous site, she’s posted a trailer for an episode of Torchwood‘s second series (or season, as they call it on this side of the pond) in which she appears.  Here’s a portion of a still from that episode:

bbca-trailer1-1b-3114133

Agyeman’s site also links to what she calls "the TARDIS Friends Network," consisting so far of the eponymous sites of David Tennant and Billie Piper.

In other Torchwood news, Series Two will also be airing specially-edited repeats of each episode which will be deemed more suitable for families and kids and, well, me.  Honestly, all this bed-hopping is driving me dizzy.  In further news, BBC America is still not available on our cable system, so it’s rather a moot point from this end.

Happy 25th birthday, Billie Piper!

  • News
  • September 22, 2007

We want to wish a happy silver birthday to Billie Piper, best known here in the States as Rose Tyler, the recent companion of Doctor Wh– pardon? Why are we covering the birthday of an actress that has nothing to do with comics?

Three reasons: first, there is going to be a Doctor Who comic book from our good friends over at IDW coming out this December. Second, she might be making a return appearance to Whoville.

Third, Because We Want To:

Categories

Archives

Everything you need to make great comics!

comicmix-pro-300x69-2

Nucleus X

Bookshop Zaks