I didn't notice your Netflix PSA in your post before, but now I have to comment on it. How sad must British Netflix be if they don't have what is probably the most iconic show of its country on there? The American Netflix has more Doctor Who than the British one.

If I could pick any American actor from their peak to be the Doctor, that would be my choice. If limited to current ones, I think I'd go with Aaron Paul.

The personalities and acting styles for all three are eerily similar, but no way Wilder goes from Young Frankenstein and Blazing Saddles straight to Doctor Who. Ditto for Glover and Community. I don't know off the top of my head what Shaloub was doing in '87, but I know he was at least established then.

I always thought they never did it, because the Doctor seemed to have trouble even saying the word "love" and their relationship was presented as so unbearably "pure" and twee. But that's a definite possibility, no saying one way or the other.

Interesting viewpoint, thank you.

I think Stones appeals to a very specific kind of person or mindset, and that's great. I tried to be fair in my review, but I have to admit some of those things bothered me more than I let on. Still, love love loved the first and last episodes.

I dunno, I kind of want to punch Eric Saward a few times.

Shakespeare Code's ending retroactively gets a pass thanks to the 50th Anniversary special. The Elizabeth scenes in there were great.

Thank you (and you too Anthony Strand) for putting into words what I've been struggling to say. Obviously their existence isn't a waking, eternal nightmare. They could adapt and go on, with time. But it's the idea that this is an unambiguously happy ending (IIRC, Elton reaches off frame and pulls up Ursula and acts…

I hated "Sword of Orion" though, it felt so typical. Like someone dug up a lost Saward script. To each his own I guess.

I didn't writeup "Imaginary Enemies" because it was so slight, but I enjoyed it. A fitting goodbye to Amy and Rory, trying to make sense of their nonsensical childhood. Made the concept of Mels almost seem like a good idea.

It's one of the underlying themes of RTD's era. More of an afterthought for Moffat. Classic Who never addressed this.

This is where RTD's love of contemporary invasion stories and Who's necessary status quo come to ugly blows. It gets worse from here, so just try not to think too much about it.

I'm still baffled that it even won the contest. That was honestly the best design submitted? Sorry to knock a 9-year old, hey if I had a 9-year old that drew that I'd be proud, but you'd think they'd pick a design that translated better.

I'm not knocking the sex, well I am cause it's kind of disgusting, but if it works for them, sure. My bigger problem is the general tone of "well she's alive, and we can still have sex, so everything pretty much worked out alright".

I'm all for cynical self-parody, but then it should have been more clear by going bigger. At this point, it's just incredibly unsettling and confusing.

Spinoff Corner

As I mentioned on io9, with Guardians of the Galaxy coming out soon, the idea of a Farscape movie actually sounds possible. I mean, if we can get Rocket Raccoon on the big screen, all bets are pretty much off.

Of course I know that, that's what I was posting about in the first place. :P

Sure, below I say Classic Who had worse bad episodes, but if I had to pinpoint a single moment as the worst idea in all of Who it would have to be blowjob slab. There's no contest.