All I could see as I watched Prometheus was how bad it sucked. The guy next to me was chuckling derisively at some of its stupidest moments.

That's just the bottle talking now

The episode where they died was written in an obsolete vernacular.

I cannot find it now, but I could swear a week ago—last weekend in June, when the final review (Survival) was scheduled to post—there was a note updating the "upcoming schedule" saying that, due to a death in the family, it would appear a week later. It didn't appear this most recent weekend, either, and now I don't…

…somewhere there's danger, somewhere there's injustice, somewhere else the review is overdue…come on Bahn, we've got work to do!

Roughly. That was City of Death (season 17, broadcast Sep-Oct 1979); this is from season 13, Oct-Nov 1975.

Fair enough. I hadn't considered it that way before, but it makes sense that he's impersonating his former performance. I hope it doesn't turn out that that's all I can see in them now, henceforth draining ("exsanguinating"? we are talking about The Two Doctors, here) my appreciation of those episodes and his…

That clip elicited a Keanu Reeves-esque "whoa" from me.

Warrior's Gate belongs in the company of the best DW stories—great lead performance, great premise, great villains, great atmosphere, uses space/time travel as a central and interesting component of the story, compelling ideas, and even if all of it never adds up, you can't even tell…

What makes Two Doctors bad is it embodies all the worst excesses and indulgences of Saward. (Sort of the Valeyard version of Saward, I suppose.)

Two Doctors was flawed, but much better than this, if only for Troughton's performance. For so many fans, that was probably their first (and only) exposure to his Doctor. 15 years after the end of his primary run, he's still so good in it.

I look forward to these reviews, and I regret that they're ending, so I
am especially disappointed when they don't appear on time. It makes me
wonder whether the last few scheduled will actually appear. (You know I'm a fan if I'm saying this about The Armageddon Factor.)

Boon is an absolutely grotesque "spin" on Raylan, but they've made him so cartoonish (he comes across as a slackjawed, inbred, pederast yokel spouting dialogue—I'm thinking of the "blue balls" bit—from an alternate universe "Eastbound and Down.") If his eagerness to shoot doesn't get him killed, it will be stupid.

Mad Max—Max loses his humanity
Road Warrior—car chase, turning point
Thunderdome—Max rediscovers his humanity

Liz is great—Caroline John is gorgeous, but that is not her character(ization). Instead, her looks are overshadowed and beside the point, because she is intelligent, competent, confident, and professional. She is part of the reason season 7 is unique in the DW oeuvre while also one of its strongest seasons.

I like your "mileage may vary" comment, Mr. Oxmall. I can single out three serials I consider "classics" of Davison's run: Kinda ("You can't mend people!"), Enlightenment, and Caves of Androzani. (I like Earthshock a lot, too, and I agree that Snakedance is also very good.)

In the name of the Second Skonnon Empire!

I agree, Idioismist. The second time through those re-enactments, as Durst faded from them, was a beautiful device. His lies exposed, his alibi/narrative evaporated. The most chilling part for me was not him disappearing from the phone booth, fading as he approached the neighbors, or disappearing with the dog, it was…

"The challenge facing The Jinx is the absence of new facts."

That sentence alone is a giant shadow of stupid covering anything interesting or insightful that might also have been said in this piece. I read that line and said out loud "nope."