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Reading Pratchett's The Bromeliad Trilogy, Fromm's The Anatomy of Human Destructiveness, and Lakoff's Moral Politics at the same time makes for quite a word cocktail:

Most people are not especially sick in the head or especially healthy either.  Most people are just people translates as Most people are somewhat sick in the head but still functionalDeal with it.
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We watched the first three episodes of the Legend of Korra.  It's a gripping sequel to Avatar:  The Last Airbender set in a believable world with the creation team's trademark attention to detail.
Spoilers and speculation. You were expecting anything else? )
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"Aftermath Part 2"

This issue is somewhat misnamed. Aftermath Part 1 focused on the immediate fallout of AoX, but this issue focused my attention more on how these character have matured since they were first introduced.  A more appropriate title would be "Where Bad Seeds Turn Good".

 

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Sorry folks, it's been a busy week and I never found the time to post this first one.

The Doctor's Wife

*big goofy grin*

Called it.  *checks date*  Almost four years ago to the day I posted a fanfic about the TARDIS being a communication-impaired Goddess who stole away with a Time Lord.  Not that I'm saying Neil Gaiman stole the idea from me, or even that no one else had had it beforehand.  Some ideas are simply too beautiful not to be true.  It was wonderful to see what an expert writer could do with the notion.

Lovely story.  Bittersweet, in the way that most NuWho has been.  More sweet that bitter, in the way that most Moffet-Who has been.  One could play a great game of "spot the Classic Who and Big Finish references" with this episode, and I'm sure someone else has already posted that.   I loved the way the Doctor and the TARDIS bickered like an old married couple.

And yes Rory, of course the Doctor has a room.  But it's lonely there, and sometimes fills up with ghosts.  It's much nicer to stay in her room.

The Rebel Flesh

Last night we watched Men in Black, a very clever ripoff of a whole bunch of earlier works.  It's like The Rebel Flesh only not, because while The Rebel Flesh also rips off a whole bunch of earlier works it's not the least bit clever.

For starters there's a helluva lot of Star Trek in this episode.  The structure is the same one used for most of the C-level plots from Star Trek Classic:  there's a threat to the dilithium crystals TARDIS that is coincidentally concurrent with one or more otherwise minor problems that the crew have to attend to nearby blowing the danger level all out of proportion because the writer couldn't be arsed to come up with a decent storyline.  The antagonists look exactly like and have similar abilities to  the sheriff from Star Trek:  Deep Space Nine;  Odo, was that his name?  And then there's the whole, "The monster isn't really a monster; it's just that some stupid humans are where they are not supposed to be, doing something they shouldn't be doing without either finding out what's really going on or obtaining permission" trope that was first done and best done in Star Trek's genuine classic episode The Devil in the Dark.  (Seriously you need to watch that one even if you never watch another episode in your life.  It's one of two Star Trek Classic episodes that out-Doctor Who Doctor Who.)

The WTF-ness of this episode reaches epic proportions.  How come mere solar flares were able to upset the TARDIS?  What was that acid they were mining?  Why didn't the Doctor tell them, "That's a Sontaran clone tank; the creatures that come out of it are sentient, sapient, and intelligent."?  There were some nice character moments and the acting was top-notch, but there's no excuse for doing a plot like this in 2011.  It's understandable to tell a bad story while trying something new, but telling a bad story that follows a  45 year old formula for bad stories is asking to be mocked.
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Disclosure time:  I don't have a piracy kink.  I used to have one, as I was reared on a steady diet of Errol Flynn movies, bodice rippers, and Hornblower novels.  Then my fic brain got interested in the minutia of sea life and I discovered that sailing was like sausage making:  best viewed from a distance. But speaking as someone who went through Piracy Kink Rehab and married someone who never had a piracy kink, we loved this episode.  Not one of the all-time greats, not without its plot holes, but a very enjoyable (and sometime quite scary) 45 minutes.

Of course it got the CPR wrong.  Of course there's no explanation of how the kid found his Dad's ship.  Of course a ship full of gunky stuff like tar, pitch, and general grime would have to ditch it's reflective surfaces instead of simply dirtying them.  I can't respect them for getting those aspects wrong but the rest of the show was quite good, for all that it looked like The Empty Child meets Star Trek Voyager.  But folks, just a little more effort and you could have taken this story to the next level.
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60s haunted house movies + 90s alien conspiracy paranoia + a TARDIS = made of Win.

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RTD channels Frank Capra more than ever, with all Capra's virtues and flaws.
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Now that the final reviews are in and the Christmas flu is winding down, I finally have time to watch Merlin.  I've seen the first three episodes so far, and I haven't been disappointed.

 

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Sorry about the delay.  It's the Secret Origins of Torchwood episode!

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Now that's the way I like Torchwood -- strong, hot, and dark.

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This week we've got another Classic Plot, albeit one that's not often seen, Monsters Emerging From the Cinema Film. 

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Now that was a Proper Superhero Wedding. How come Torchwood feels so much more like a well-done superhero comic book than Heroes? 

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That was a lovely meditation on death from a humanist perspective.  Owen's dead.  What happens next? Owen wonders that too.   

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Why do so many wonderful character moments have to be trapped inside such a wretched plot?

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Where we welcome Martha with a pretty good plot.

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This story was lovely but strangely unsatisfying.

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Or Torchwood's Debt to Irving Berlin

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This episode has a very simple, almost minimalist plot, for a 50-minute time travel episode. 
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James Moran's freshman TV script is an outstanding piece of work.