You saw it too with the Pierces, Logan tried to woo them, etc, and couldn’t pull it off. All he has going for him is sitting at the top of a giant pile of money and lawyers. The show’s thesis was pretty definitively stated in season 2 by Logan himself: ‘money wins’.
Not that he isn’t pathologically committed to being…

Yeah, Flux has a lot of the trademarks of the Chibnall era, melty skull-looking aliens, villains standing around and explaining stuff for entire scenes, some very dodgy make up, the Doctor keeping stuff from her companions for no good reason. Some of it finally worked, but a lot of it is always going to be frustrating…

Yeah, it was one of the few scenes where she got to be something more than just sweet, outraged, or secretive. She felt like the Doctor there in a way that Tennant often managed to be.

Dropping that chameleon circuit down a chute was the smartest choice he could have made. Hopefully it will stay buried there.

RTD and Moffat both put their own stamp on the Doctor’s history, though Davies was clearly less interested in backstory than Moffat and Chibnall were. The Timeless child thing though feels like Chibnall deliberately rewriting the character’s history just so he could make his own mark.
It doesn’t particularly add…

Yeah, it feels like three major season arcs are stuffed into 6 episodes. Sometimes that muchness works, but here it just came across as a bunch of plots that are just crashing into each other.

I think there will be some aspects of it that are bound to return, but it’s also been more than a decade and he’s grown as a writer. So I think that we’ll be seeing something new from him as well.
I liked his more is more-approach to writing season finales, despite their flaws, but I hope we get to see more of the RTD…

For all his faults and tendency to choose spectacle over cohesion, RTD did those things in service to emotional beats that made sense, and characters that were relatable. Chibnall’s problem is that the characters get lost in the spectacle.

When have they topped it?
Meyer accidentally created so many of the franchise’s most iconic moments, it’s going to produce bad imitations for years.

You’ll save yourself some frustration over a deeply disappointing answer to the season’s big mystery, and you won’t have to see a fight scene in a turbo lift that begs the question how big Discovery is supposed to be.

Part of it is that Star Trek in the eighties and nineties was an oddity on tv already; more high minded, philosophical and because of the limitations of technology often forced to resolve the story conflicts by having its actors talk to each other.

Ewan, like Logan, has little sympathy for his moneyed offspring. Logan of course, for pathological reasons can’t respect his children.
Ewan though, has grown to despise capitalism (and his own part in his brother’s empire) and I think won’t give anything to those children and grandchildren who want that money he both…

Yates had the misfortune of getting to direct the books Rowling had written after she’d gotten too big to be edited. The first books came out after a lot more editorial guidance, so they’re thankfully a lot more brief. Columbus and Cuaron could work with much more of a complete adaptation, which in Cuaron’s hands lead…

Yeah, and it’s telling that after Cuaron they brought in a journeyman like Newell, and then stuck with a tv-guy.
The films were probably on too much of a ticking clock to ever be allowed any real creative risk (in so far as that’s possible on those budgets), they had to reliably crank them all out before the kids got…

It’s a scene that reminds me of Doctor Who in the way the climax revolves around a conversation in which the hero is steps ahead of the villain and is willing to give him a chance.

I think it’s the one Yates wanted to do the most, coming from his background of political thrillers, he brought a lot to the way the political institutions had been corrupted and outright taken.

Goblet is not my favourite, but you can definitely tell it’s the one that’s made by someone who went to a boarding school.

Yeah, I never quite get the praise for Yates who simply took Cuaron’s visual style, but didn’t have any of the same wit and creativity.

A thing that the movies kind of skipped over (and would have probably required a very different casting decision) is that Voldemort is physically a frail old man; who despite his magic prowess, the transformations and rebirth he went through, was a just a man. Having him die the way he did in the book reinforced that,…

Mostly what stuck out to me was just how lazily imagined it was. The Harry Potter books weren’t breathtakingly original in terms of tone or worldbuilding, but she was at home in that world. The Fantastic Beasts films swap all of the detail from the books for just rendering a lot of concept art in cgi. They feel empty,…