Series 12

Kaijuko wrote:

Lord Pertwee's Knob wrote:

Kaijuko wrote:
(Also - I'm running out of space to display multitudinous Eaglemoss figurines - and I only collect the Classic series releases - God help those who buy the NuWho ones as well!)

My (I hate this word) Man cave has 3 of 4 walls full of display cases of them.
I'm sure they said there would only be 80 parts back when this started in 2013, I just got part 169 today, and it's another shitty chibnall era figurine

Perhaps when the series finally comes to an end I'll flog all the nuwho ones off as a job lot on ebay and I will actually be able to move in my room again...

Ha!  And we have yet another Cyberman figurine to look forward to...

Indrid Mercury wrote:That's great. Nice to see some Eaglemoss collectors here.

Rob Filth wrote:"Warriors of the Deep" despite it's flaws beats that twee Graham Williams smug shit "City Of Death" hands down.

In fact it completely fucking walks over EVERY SINGLE STORY in the loser Graham Williams era, the Mary Whitehouse appeasing twat.

His era completely and utterly destroyed the programme with his kiddy K9 shite and made it the focus of every single bully in the school playground to kick the shite out of anyone who dared talk about it.

All because of some freakish overly-sensitive right wing apologist cultish pressure group when really the programme ought to have been making excitingly violent stories which had brought it such public acclaim during the Hinchcliffe era.

Only infantile simple minded cunts liked the Williams era. 

Someone please quote me on that.

Genkimonk wrote:Rotten tomatoes audience score for this season is 16%, while professional reviewers have it in the 90s. It's amazing how out of touch the MSM is.

Doctor Who series 12 episode 7 review: Can You Hear Me? balances high-concept thrills with some much-needed character development


After last week’s disappointing Praxeus, Can You Hear Me? blasts Doctor Who back to its best with a mixture of high-concept thrills and some much-needed character development for the TARDIS team.


Considering Doctor Who is officially the longest-running sci-fi show of all time, you might be surprised to know that throughout its history, character development for the Doctor and their companions has been few and far between.


Chris Chibnall, when he took over as showrunner from Steven Moffat, seemed determined to change that. Jodie Whittaker’s first stint in the TARDIS as the first-ever female Doctor was defined by its episodic structure that focused more on developing the personalities of Ryan (Tosin Cole), Yaz (Mandip Gill) and Graham (Bradley Walsh) over any story arcs.


Series 12 has kicked this trend however, we’ve seen the return of some old enemies, the shocking introduction of a game-changing character and the enigma of the Timeless Child to contend with. Whilst this is all very exciting, one thing has suffered throughout the twelfth season and that was the previously solid character development of the Doctor’s ‘fam.’


Can You Hear Me? Goes some way remedy this, this is an episode of TV with a wacky, high-concept premise yet at its heart is some of the programme’s finest and most nimble character work since the halcyon days of Rose Tyler (Billie Piper).


The plot of the episode is relatively easy to boil down; Ryan, Yaz and Graham go home to Sheffield to catch up with their family and friends, who are beset by strange nightmares, whilst the Doctor is pulled to ancient Syria to investigate some monsters. Somehow, these two events are connected (of course they are).


Whilst at home, the TARDIS begin to realise that, despite their adventures with the Doctor taking place in an actual time machine, time is slipping away from them. Yaz’s distance saddens her sister, Ryan’s absence has alienated him from his friends and Graham becomes potently aware of his mortality following a cancer scare in his past.


Mix this in with an immortal God (Game of Thrones’ Ian Gelder rocking some lovely robes and a scalp tattoo) feasting on humanity’s nightmares to release his partner in crime and we have a pretty great visual manifestation of the companions’ fears.


Yaz wonders if her travels with the Doctor are enabling her to run away from her problems with no consequences, Ryan imagines his friends’ alienation with him akin to the Earth being destroyed and Graham is haunted (quite literally) by the ghost of his illness and grief.


Doctor Who’s mythology – the history of its own universe – is rarely discussed and dissected beyond a few vague references over the years. The revelation that Gelder’s villain is an Eternal (no, not the Marvel heroes) shadowy figures from a by-gone age that were referenced in passing a few times by David Tennant, is genuinely thought-provoking in the way it so readily opens up the world of the show; now, not only aliens exist, but gods do too.


And it’s classic Doctor Who to match this heady concept with some of its most robust character work in over two years. It shouldn’t work, yet somehow it does.


Key Moments


The almost David Lynch-esque dream sequences


Bradley Walsh acting his little heart out in a touching reunion with Ryan’s grandmother Grace


Mandip Gill’s Yaz finally getting the backstory she deserves


Verdict


As we move into the final endgame for season 12, Can You Hear Me? introduces and then mostly abandons its early ideas for a much more interesting deep-dive into some seriously high-concept notions that open up the universe of Doctor Who.


Yet, all this is balanced with some of the show’s most adept and affecting character development of its central three companions, who are all becoming more and more disillusioned with life with the Doctor.


It shouldn’t work…but it does.


Doctor Who continues next Sunday on BBC One.


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MORE: Stephen King’s son Joe Hill suffered brutal rejection as Doctor Who writer


MORE: Game of Thrones star joins Doctor Who for epic two-part finale as Jodie Whittaker faces the Cybermen

Pepsi Maxil wrote:
Has that Primeval movie gone into pre-production yet?

Lord Pertwee's Knob wrote:

Mott1 wrote:The sad thing about Naylor was that I always got the impression the dark, original concepts of Red Dwarf were largely his work - season 5 is at times as twisted as sci fi gets. He may be remembered as the one who couldn't hit the same comedic heights without Grant but without Naylor the show could have just been a short-lived Star Trek skit.

I think together they worked beautifully.
As much as I loved Series 1 & 2 back in 88, for me the absolute best Red Dwarf were the novels credited to both of them.
My copies of Infinity Welcomes Careful Drivers, Better Than Life & Last Human are falling apart I've read and re-read them so often.

Taking such an interesting concept as the TIV and developing it form the jokey script of Better than Life, and making it such a dark and horrific idea whilst still remaining true to the TV characters was amazing.

Pepsi Maxil wrote:
This might be worth a read

https://www.amazon.co.uk/Pink-Dwarf-Infinity-Welcomes-Drivers-ebook/dp/B01IMJYUTM/ref=sr_1_5?keywords=Red+dwarf+infinity+welcomes+careful+drivers&qid=1581249126&s=books&sr=1-5

Richayard wrote:https://www.thedailymash.co.uk/news/arts-entertainment/could-you-write-a-terrible-episode-of-doctor-who-20200207193228

Rob Filth wrote:

Pepsi Maxil wrote:
Has that Primeval movie gone into pre-production yet?

A Primeval movie was released in 2007.

https://en.wikipedia.org/wiki/Primeval_(film)

Pepsi Maxil wrote:

This might be worth a read  

Pepsi Maxil wrote:Can you Hear Me?

The villain is called Bad Whiteman.

Zarius wrote:3.81m on overnights