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adhuin posted:Although I can't see how Audio-Dramas based on Jago and Litefoot could work. I really like them, the first five seasons at least. I'll have to give season 6 another go sometime soon.
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Jan 11, 2015 02:25
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I finished The Rani Elite tonight and it was good all the way to the end. The new Rani is fantastic! It is a shame that they were just a few weeks away from Kate O'Mara having one more crack at the role, but it's good that they are able to do it with her blessing and with a great new actor. I lol'd when they mentioned they had to call PipNJane for the rights; I can only imagine that conversation: Nick Briggs: "So yeah, you got our papers right, we're good to go on using the Rani?" Pip and Jane Baker: "Absolutely! And you'll be wanting us to do that script, right? We've already got some great ide---" Nick Briggs: "OH UM, yeah, no, I mean...well we've already...got it contracted out! You know how it is! Yeah, we already had a guy in queue to do the next one. But I'll be sure to reach out to you if we ever need anything else for Big Finish that's right up your alley, with your particular talents. Well gotta go bye!"  Edit to mention the actual writer was prolific Who writer Justin Richards. His novels and audios have had their ups and downs but this is one of his best. Astroman fucked around with this message at 05:27 on Jan 11, 2015 |
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Jan 11, 2015 05:20
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The best bit in Fang Rock for me is when the doctor declares there's something on the island that may very well kill them all, but does so with a big, wide eyed grin. It's a very Four moment.
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Jan 11, 2015 07:24
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Astroman posted:I finished The Rani Elite tonight and it was good all the way to the end. I liked the preview episode they released (apart from the obvious,"HOLY poo poo IT'S THE RANI!!?" cliffhanger being so ridiculous given the title) so I'm pleased to hear it held up well.
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Jan 11, 2015 07:43
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Question for you guys: I remember watching an episode of Doctor Who a long long long time ago when it was being broadcast on public tv and saw an episode where the Doctor shrunk down and was injected in his own body(?). Was this a fever dream of a child or did this actually happen at some point? The image quality seemed to be circa the '70s-80s, perhaps a fourth Doctor episode?
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Jan 11, 2015 10:09
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Sushi in Yiddish posted:Question for you guys: I remember watching an episode of Doctor Who a long long long time ago when it was being broadcast on public tv and saw an episode where the Doctor shrunk down and was injected in his own body(?). Was this a fever dream of a child or did this actually happen at some point? The image quality seemed to be circa the '70s-80s, perhaps a fourth Doctor episode? The Invisible Enemy
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Jan 11, 2015 10:12
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The titular enemy turns out to be a big shrimp [edit] http://michaelrakowitz.com/projects/the-invisible-enemy-should-not-exist/ Well said, art exhibition
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Jan 11, 2015 12:27
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adhuin posted:Although I can't see how Audio-Dramas based on Jago and Litefoot could work. I know, I had the same reservations - but trust me, listen to them - they're absolutely fantastic. What convinced me actually is listening to the Fourth Doctor Adventures serial where they appear again, The Justice of Jalxar - that solidified to me that the actors who play Jago and Litefoot are so good at what they do and the world they inhabit is so convincing that yes, a series with just them and no Doctor can work, and does in a really good way. I've just finished the fifth series and am continuing onto the sixth, and I just have to say - I really LOVE the fifth season where they're stuck in 1968 London if nothing else but the MUSIC - the theme is 60'fied and all the incidental music is just marvellous - I think I listened to the bit in the first episode where Detective Sergeant Sacker (grandson of Dr. Ormond Sacker) talks to Timothy Vee (off of the T-V) and the Indian idol does its thing and the music starts, over and over again just because how fantastic that track was. All of it is brilliant, and although the sixth series is good, it seems a shame that they're back in Victorian London cos they could really exist anywhere and bring the Victorian age back wherever they were and it would still be great.
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Jan 11, 2015 16:22
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Jago and Litefoot, especially seasons 2 through 5, is goddamn incredible. 6 was, in my opinion, a bit of a step down, and the series hasn't quite returned to the heights of 4 and 5 yet, but it's still great fun.
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Jan 11, 2015 16:38
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adhuin posted:
I've listen to them all and they're brilliant. Just some of the best stuff BF does.
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Jan 11, 2015 16:39
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DoctorWhat posted:Jago and Litefoot, especially seasons 2 through 5, is goddamn incredible. 6 was, in my opinion, a bit of a step down, and the series hasn't quite returned to the heights of 4 and 5 yet, but it's still great fun. Of course you'd like 4!
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Jan 11, 2015 16:47
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adhuin posted:Well... I watched and liked it enough to check the Leelas first episode The Face of Evil and onward up to Image of The Fendahl Upon seeing your reaction to initial treatment, I'd recommend a regular dose of the "Hinchliffe/Homes" cocktail, starting with Ark In Space, preferably before bedtime.  (Although experimentation with Time Warrior and Carnival of Monsters beforehand has been known to enhance results.)
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Jan 11, 2015 16:48
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Awesome, Futurama had an episode with that same plot and I knew I'd seen it before!
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Jan 11, 2015 17:34
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Sushi in Yiddish posted:Awesome, Futurama had an episode with that same plot and I knew I'd seen it before! Some new show last year with Peter Capaldi (the guy from Torchwood Children of Earth) ripped it off as well.
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Jan 11, 2015 18:40
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Astroman posted:Some new show last year with Peter Capaldi (the guy from Torchwood Children of Earth) ripped it off as well. Pff, all these new sci-fi shows are just cribbing Doctor Who 
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Jan 11, 2015 19:59
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Chokes McGee posted:Pff, all these new sci-fi shows are just cribbing Doctor Who Doctor Who shot first?
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Jan 11, 2015 20:40
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RunAndGun posted:Doctor Who shot first? "Doctor, who shot first?" or "The Doctor who shot first"? Or is this a headline from 1989 about a large number of BBC series being put out to pasture? 
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Jan 11, 2015 22:16
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Jerusalem posted:"Doctor, who shot first?" or "The Doctor who shot first"? None of the above. Just an idea for someone to get revenge for everyone cribbing Doctor Who: edit a scene to where the Doctor shoots first (or at all, actually).
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Jan 11, 2015 23:20
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RunAndGun posted:Doctor Who shot first? 
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Jan 11, 2015 23:32
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Haha what a silly photoshop, I wonder if there are more. ... FOR FUCKS SAKE
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Jan 11, 2015 23:57
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The Bad Wiki posted:The book is further notable — perhaps even infamous — for a subplot involving the rape, near-wedding and murder of former companion Dodo Chaplet. However, this aspect of the story has often been conflated with aspects of The Man in the Velvet Mask. As a result, many fans wrongly believe that Kennedy tells the story of Dodo dying from syphilis — something that never happens in either book.[1] 
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Jan 12, 2015 00:00
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Yeah, I actually enjoyed most of that book, but that entire segment is... unfortunate...
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Jan 12, 2015 00:10
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Of all the ones to put Near before, why was it WEDDING?
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Jan 12, 2015 00:50
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Chokes McGee posted:Pff, all these new sci-fi shows are just cribbing Doctor Who So , what you're saying is Doctor Who's on first?
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Jan 12, 2015 01:45
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Neddy Seagoon posted:So , what you're saying is Doctor Who's on first? https://www.youtube.com/watch?v=gNIdqvMUhrE
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Jan 12, 2015 02:07
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That Mummy on the Orient Express is NOT the best episode of season 8, nor the best episode of season 8 written by Jamie Mathieson, only just goes to show how amazing the other episodes must be, because this is utterly exceptional in every way. Both as an individual episode and in service to the greater ongoing narrative of the entire season it succeeds, most particularly in the incredible interaction between the Doctor and Clara, made even more remarkable by the fact that for most of the episode they're not even present in the same room or even talking to each other. Capaldi and Coleman bring their A game, the writing is spot on, the aesthetics are wonderful, the atmosphere is intense, and the climax is spectacular. I could gush about this episode all day, and watch it over and over again, especially that climax, which again makes it remarkable that Mathieson manages to deliver an even BETTER moment in the following episode. Nothing is perfect, of course, but I would be reaching to find anything to actually complain about in this episode - about the best I can manage is that the execution of the kitchen staff smacks of bad super-villain writing, or that the (hilarious) Bechdel test joke doesn't excuse the fact that two women are indeed spending their time talking about a man. But really, these concerns are so immaterial to my enjoyment of the episode that I really can't work up any enthusiasm to talk about them, because holy poo poo this is a good episode. The story opens with an elderly woman dining with her "daughter" on what appears to be a train in the 1920s, when to her great distaste she spots a foolish man dressed as a mummy approaching her. Demonstrating that she is not a very pleasant person, she harangues her daughter and the staff, all of whom insist there is nothing there, and the Mummy draws closer and closer as a timer in the corner of the screen counts down 66 seconds... and when it reaches zero, the mummy has reached the woman and grabbed her face, and she drops dead instantly. The camera then pulls out to reveal that the train is in fact in space, hurtling through space on "hyperspace ribbons". Not long after, the Doctor arrives with Clara, in a bittersweet and awkward "final" adventure together as Clara takes Danny's advice and attempts to break things off with the Doctor when she isn't out of her mind with rage at him. Both actors really sell the awkward, uncomfortable nature of this, both completely aware that this is their final adventure and unsure how to act or talk to each other - the Doctor retreats into his usual attempts to avoid the issue by talking about the other amazing things he has seen, while Clara tries her best to explain her own feelings. There is a particularly sad moment that the Doctor doesn't (seemingly) quite grasp, when she explains that you can't hate somebody you don't even like.... and she doesn't hate him. This has been building all season culminating in the blow-up at the end of Kill the Moon, Clara's desperate attempts to see the Doctor she knew hiding beneath the surface of this new personality and eventually coming to the conclusion that he's not that person anymore, and that the person he is no longer appeals to her - she doesn't like him. Surprisingly though, she becomes alarmed when she realizes that the Doctor will no longer be a part of her life - apparently she expected him to still come and visit her from time to time, to do mundane things like have dinner and the like, and although he tells her he will it is clear that both know this isn't going to happen. Did Clara REALLY think that this was likely to happen? It indicates a surprising naivety on her part, as well as some small measure of selfishness - she only wants him in her life under her own strict conditions? Discovering the death of the elderly woman and the story around it gets both their interest, but the Doctor insists to Clara that there is nothing to it and that the old woman simply died as old woman are likely to do. He's lying, of course, and because this is their last adventure the Doctor is torn between his desire to include Clara or whether to leave her out of it. This leads to some great stuff, as without his regular companion about he is reduced to talking to himself (and doing a fantastic 4th Doctor impersonation) or finding quasi-companions to chat with - from the train's Captain to the Engineer (a great turn by Frank Skinner) to an expert on the "Foretold" (the legendary Mummy) but it is clear that without Clara he is kind of lost, people aren't quite sure how to deal with his rather acerbic personality.   While the Doctor investigates the deaths (more people start dying), Clara pops out to do some investigating of her own and runs into the deceased woman's "daughter" (Maisie) again. The two get trapped inside a storage carriage after Maisie smashes her way past the control mechanism, and have little choice but to sit around and talk as they wait to be discovered/let out/rescued. That sounds rather passive, but it allows for some interesting in-depth discussion both of Clara, who we are familiar with, as well as giving Maisie a more well-rounded and likeable personality, which is incredibly important for what is to come later both for the viewer and, more importantly, for Clara herself. There is a rather cheeky "Bechdel test" joke as they start discussing Clara's relationship with the Doctor and she complains that they must surely have something more interesting to talk about than some man. Maisie reveals the nature of her relationship with her "mama", who was actually her Grandmother and an imperious, disapproving and cruel figure who dominated her life. Clara talks about the struggle having "difficult people" in your life can be, obviously drawing a parallel between the Doctor and Mrs Pitt, and after venting (mostly off-screen) her frustrations with the Doctor, Maisie calls her out on the fact that she obviously is struggling emotionally with her intellectual decision to call an end to her travels with the Doctor - she points out that life would be easy if you could just like the "right people", but that's not the way life works. We've already had Clara back-handedly tell the Doctor she doesn't like him, but Maisie's insight indicates that it may be more that she thinks she shouldn't like him.... and yet she does anyway. Meanwhile the Doctor has found himself without the usual crutches he can rely on in a typical adventure. Without Clara he is forced to use quasi-companions, with only Perkins really fitting the typical mold, and all of them only temporary at best before he quickly moves on to somebody else (usually insulting them along the way). He whips out the psychic paper to get around the Captain's questions which backfires by giving him a thoroughly unimpressive "occupation"... and then the Captain actually bothers to look up his claim, discovers it is false and promptly arrests him, only releasing him when he realizes there is a greater and more immediate danger than a "nosy-parker". The psychic paper is too often used to short-circuit the process of gaining admittance/acceptance from other characters, but this time it simply serves to complicate matters. Similarly, the sonic screwdriver screws up leaving the Doctor unable to rely on it and having to intuit/work out what is going on. The whole thing creates a sense of the Doctor basically being adrift, doing his best to make do without his usual anchors, and as I've mentioned so many times before, without a companion present to soften his edges his personality overwhelms, irritates and enrages other characters and causes more problems than it solves. When he finally breaks down and calls Clara - I love that the picture she uses for the Doctor on her phone is of a cartoon stick insect - it appears like the two stories are going to come together as Clara and Maisie seem in danger as the sarcophagus in the strong-room begins to open.... only to reveal it is empty and full of bubble wrap. Clara and Maisie are actually relatively safe, and it is the Doctor and all the other guests who are in danger, they've all walked into a trap.... something the Doctor had already figured out well in advance.   And this proves the key to the major storyline running beneath the surface of the events of this episode, and across most of the season. The Doctor has been ahead of the curve for a very long time, and completely unconcerned about making sure everybody else knows it - keeping things to himself, telling half-truths, practically taunting other characters with his superior insight (contrasted with his complete lack of awareness of how this irritates everybody). It has all boiled down to the 12th Doctor appearing not to be a particularly likeable character, even if he can be amusing or appealing he seems so arrogant and self-righteous. This really gets highlighted as he beams with satisfaction as the train's computer system - Gus - reveals what he already figured out, that a variety of experts in various fields have been gathered together for the express purpose of working out how to capture the Foretold, and they have the best possible encouragement in that Gus will kill them quickly if they won't, and the Foretold itself will slowly kill them one-by-one if they can't. Using a tattered scroll connected in some mysterious way to the Foretold to ensure its presence, the experts have to hurriedly work under the Doctor's guidance as it begins to appear and pick them off - first the expert Moorhouse, then Captain Quell, both of whom struggle their best to face their deaths with dignity, all while the Doctor harangues them callously to give him more information (only the current target/victim can see the Foretold). Perkins is disgusted by the Doctor's attitude, while the Doctor himself smugly complains that given 66 seconds of visual access to the Foretold he could easily figure out the solution to stopping it. Again, not very likeable, the Doctor appears here to be even more obviously callous than usual.... which is nothing compared to what comes next. We're all actually familiar with the notion of a "Mummy on the Orient Express... in space!" from the end of season 5's The Big Bang, it was the adventure that convinced Amy and Rory to abandon their own wedding reception to adventure with the freshly recreated Doctor. So what is going on here, how is this story happening when it supposedly happened off-screen already between season 5 and 6? This is addressed here, as the Doctor figures out that Maisie will be next to see the Foretold and forces Clara to lie to her, to tell her that he can save her when he only intends to use the 66 seconds to gather more data. Disgusted with herself (a call back to Danny's warning on what an "officer" can drive you to to do) she goes along with him, contemplating escaping in the TARDIS with Maisie only to find it is blocked by a forcefield. When she tells the Doctor this, he rather unconcernedly reveals the truth - that he was "invited" to the Orient Express hundreds of years earlier in his own lifetime and immediately picked up that it was a trap. Clara is mortified, he knowingly brought them into a trap? He knowingly lied to her about what was going on? He chose THIS as the setting for their final trip together? What kind of a monster is this man she thought she knew? What happened to "the Doctor", the inspiring figure who promised never to be cowardly or cruel? She chose to stay because THAT Doctor begged her to give THIS Doctor a chance, and he has just blown it again and again - facing this, Clara's anger erupts up again, though this time it is colder and far more controlled, as she spits out,"Okay, this. You see, this. This is why I'm leaving you. This. Because you lied. You lied to me, again. And now you've made me lie. You've made me your accomplice. " And THAT is when THE Doctor shows up   As the Doctor pushes Maisie to the breaking point emotionally, coldly scanning her entire time.... the music swells into the 12th Doctor's theme and he turns that "gun" onto himself. Being true both to his own character and the notion of the Doctor that Clara has desperately been looking for, the Doctor takes all the hurt and pain and suffering and guilt in Maisie's head that is so appealing to the Foretold and puts it into his own. The Foretold disappears from Maisie's view and appears in the Doctor's, and everybody watches agape as he eagerly greets the creature and, as he smugly claimed earlier, within 66 seconds figures out what the Foretold is, what it wants, and how to "defeat" it. It is a soldier (another recurring theme throughout the season) kept alive for so long that it is unrecognizable from what it was when it started (shades of the Doctor himself). The tattered scroll is a flag, the Foretold is a soldier kept alive beyond reason to fight in a war that no longer exists, and the only way to defeat it is to end the war it is fighting.... and so with a second left on the clock the Doctor "surrenders", and the Foretold immediately stops. With a slow, grateful salute to the Doctor it crumbles into dust, the Doctor has not just saved Maisie, not just saved Clara and all the others onboard, but also the Foretold itself, he put an end to its long suffering existence.... and completely rehabilitated himself in Clara's eyes in the process.  With the Foretold gone, Gus happily tells everybody that their lives are no longer required, another cruel twist that again was predicted by the Doctor. As it removes air from the carriage, the Doctor co-opts the technology that was keeping the Foretold alive, cheerfully telling a gasping Clara that there is about 30 seconds of air left and it'll take him about 2 minutes to get the tech (including teleporter) working so he'll let her know when it is done. We see the train explode, but Clara awakes on an alien planet to find a delightfully William Hartnell-looking Capaldi happily scribbling calculations in the sand. He informs her that he was able to teleport everybody into the TARDIS, but that his efforts to backtrack Gus and find out who was behind the trap triggered a failsafe explosive device that destroyed the train. Thus Gus (or whoever was behind Gus) failed in their efforts to get their hands on the Foretold tech, even though the Foretold itself was neutralized. Clara is delighted that the Doctor was able to save everybody, happily ignoring his little joke that he's lying and actually left everybody to die. That's important, because it showcases that Clara's faith in the Doctor as a good person has been restored, and that she recognizes once again that his callous indifference to social niceties does not mean he doesn't care. He admits that he turned up the callous act moreso than usual because he couldn't allow Gus to figure out what he was planning, but in another very important step in the development of their relationship he doesn't let Clara get away with assuming that he isn't "heartless" when he has to be. The Doctor posted:Would you like to think that about me? Would that make it easier? I didn't know if I could save her. I couldn't save Quell, I couldn't save Moorhouse. There was a good chance that she'd die too. At which point, I would have just moved onto the next, and the next, until I beat it. Sometimes the only choices you have are bad ones. But you still have to choose. Throughout the season there has been a real sense that the Doctor is callous and heartless, and it IS true to a certain extent. But that doesn't mean he doesn't care, it doesn't mean that he doesn't regret the deaths that come when he isn't able to stop them. The Doctor is far more complicated than that, and while he isn't the easiest person in the world to like, Clara now understands that his heart is still in the right place and that he still tries his best to save people, that he is still THE Doctor, and that yes she DOES like him after all. Which also marks the point in the season where we see a very clear shift from focus on the Doctor's development to Clara's. For the first half of the season the question was whether the Doctor was a good man or not, and now we know the answer even if the Doctor is still unsure himself - of COURSE he is, who else would have put themselves in Maisie's place. But this marks the point where Clara not only embraces the idea of the Doctor but makes a clear step closer towards him and his life over the one she has been building with Danny, and she starts becoming more like the Doctor himself. It starts with a lie, as she gets a call from Danny, tells him that she made the clean break from the Doctor, then happily lies to the Doctor as well and tells him that Danny is completely fine with them continuing to travel together again. In The Caretaker her two worlds were forced together, and now in a moment she has engineered an effort to separate them again and keep a foot in both instead of committing fully to one or the other. It means lying to both her "partners", and in the next episode we'll see even more clearly how she is more deeply embracing/taking on aspects of the Doctor's personality, as well as putting at risk her very genuine relationship with Danny. As Perkins noted when the Doctor offered him a place on the TARDIS, a job like this can change a person, and we're seeing that now with Clara. For now though, Mummy on the Orient Express ends with a remarkable sense of optimism and enthusiasm, as Clara and the Doctor (who is THRILLED to have her "back") take the controls together and both actively set the TARDIS in motion to continue their travels together. This is an excellent episode, one of the best of the season, and something I could easily watch again and again. I haven't even touched on just how good the whole thing looks, or how wonderful the atmosphere is, or how impressive the editing. It's just quality on all fronts, there is no part of this episode I don't enjoy - what a debut from Jamie Mathieson. 
Jerusalem fucked around with this message at 08:09 on Mar 10, 2015 |
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Jan 12, 2015 04:45
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Mummy was an episode that was just plain fun on the surface. If one takes it solely at face value, it's a scary romp that's a bit of a throwback to the Fourth Doctor. Indeed, this could have easily been Four/Leela or Four/Romana I on the train. Dig a bit deeper, though, and there's an episode that shows just how dangerous, thrilling, and maybe a bit addicting being with the Doctor can be. This is the episode that proves Danny right - being with the Doctor can be a bad thing as well as a good thing, with both being equally exciting. I hope Mathieson comes back for the next season because his two scripts were both absolutely smashing.
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Jan 12, 2015 05:10
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It's a really difficult balancing act to get it right, and this episode just knocks it out of the park. Watch it as part of the entire season and it's this wonderful and important addition to the narrative, but equally anybody could watch it at any point and it would be just as enjoyable - the only baggage it brings with it is that Clara wants to stop traveling with the Doctor because she can't deal with him anymore, and their opening scenes do a great job of establishing this in its own right without relying on having seen previous episodes. Also I still love the image it brings to mind of the 11th Doctor enticing Amy and Rory back onto the TARDIS with the story about going to solve the mystery of the Mummy on the Orient Express in space, then taking them somewhere completely different and when they ask why, going,"Oh come on guys, that was CLEARLY a trap!"
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Jan 12, 2015 06:35
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Between Kill the Moon and Mummy on the Orient Express, I'm pretty sure Peter Capaldi eerily channels every previous Doctor at least once. I know some people couldn't get a sense of his Doctor earlier, but I think that was about the mixed-up identity conflict in the writing for the season and not Capaldi's acting. I think it's be interesting to behold now that his companion and he are on better terms.
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Jan 12, 2015 15:18
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I want to see him pull out his Tom Baker impression again. 
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Jan 12, 2015 15:32
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Jerusalem posted:Whenever you notice something like that, Because I can't say it in the Toxx thread, I just want to point out that this is actually the show's explanation for this kind of thing as of The Doctor's Wife, which is really, really great.
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Jan 12, 2015 16:18
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The_Doctor posted:I want to see him pull out his Tom Baker impression again. I dunno, I kind of wanted to see him point decisively in one direction and then storm off the other way.  Also underemphasized is just how amazing Louise-Coleman looks in this episode. 
Chokes McGee fucked around with this message at 16:40 on Jan 12, 2015 |
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Jan 12, 2015 16:37
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The_Doctor posted:I want to see him pull out his Tom Baker impression again. I want to see Clara slap a hysterical person and no one mentions it and looks on with silent approval.
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Jan 12, 2015 16:39
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Even though it would have been completely impossible, I had a moment where I hoped that the other experts Gus had lured aboard the train would be the previous Doctors.
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Jan 12, 2015 16:50
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docbeard posted:Even though it would have been completely impossible, I had a moment where I hoped that the other experts Gus had lured aboard the train would be the previous Doctors. Patrick Troughton walks in the carriage in the background just as Capaldi points the "gun" at his own head, immediately turns around and shoves Jamie and Zoe back out the door
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Jan 12, 2015 21:24
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docbeard posted:Even though it would have been completely impossible, I had a moment where I hoped that the other experts Gus had lured aboard the train would be the previous Doctors. There was one expert that we captured and he escaped, but we captured him and he escaped again. Was with a girl named Jo.
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Jan 12, 2015 22:36
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So the cliffhanger to episode 3 of The Kingmaker is one of the greatest things I've ever heard - wasn't really feeling the story until it hit that point and I realized they were just embracing the madness fully
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Jan 12, 2015 22:46
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The Kingmaker is a lot of fun. I love that they got John Culshaw to do his Tom Baker impression for the Doctor's recorded notes. 
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Jan 12, 2015 22:51
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Bicyclops posted:The Kingmaker is a lot of fun. I love that they got John Culshaw to do his Tom Baker impression for the Doctor's recorded notes. You never do sound like yourself on tape, do you?
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Jan 12, 2015 22:55
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Jerusalem posted:So the cliffhanger to episode 3 of The Kingmaker is one of the greatest things I've ever heard - wasn't really feeling the story until it hit that point and I realized they were just embracing the madness fully That one line has to be in the top 5 best cliffhangers in Who history. It's just so unexpected but it totally works e: Kingmaker's also one of my favorite Doctor Who stories, full stop. There are a lot of very funny bits (and the guy who plays Richard sounds so close to Chris Eccleston that it hurts) but it's still got some teeth and it's not afraid to use them. It's a nice change from the boring faff that's most of the "funny" BF audios Fungah! fucked around with this message at 23:56 on Jan 12, 2015 |
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Jan 12, 2015 23:54
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