Every modern Doctor Who episode ranked from worst to best, part 4 of 4: “Fantastic!”

And here we are at last—the top 25 episodes of modern Doctor Who. If you missed the earlier installments, you can start at the bottom with “I’m Sorry, I’m So Sorry,” then progress up through “Are These Good Episodes?” and “These Episodes Are Cool.” Or, if you want to focus on the positive, see below.

Remember: Spoilers!

Without further ado, Geronimo!

“Fantastic!”

The TARDIS comes equipped with blankets for when you visit winter.

“On the bright side, we now know the TARDIS has blankets. Unless this is the dream.”

#25 Amy’s Choice: A dream-based episode where the stakes feel real. The set-up is intriguing with the characters not knowing which of the two realities is the dream, and it’s all grounded by a strong emotional core. I’m not sure how Amy fell in love with Rory back in these pre–Hitler-punching days, and that does mar the episode just a tad, but great stuff otherwise.

#24 Last Christmas: Another dreamy episode, but a totally different one: Doctor Who does Inception, guest starring Santa Claus. It’s one of those ideas that could easily have gone so wrong and yet somehow finds the sweet intersection of Christmas and sci-fi.

#23 Midnight: I wouldn’t want every episode to be like this, but this is a wonderfully tense change of pace, and one of very, very few Doctor Who episodes that could conceivably be staged as a play. All that repetition is unsettling, but it’s a good unsettling. Continue reading

Every modern Doctor Who episode ranked from worst to best, part 3 of 4: “These Episodes Are Cool”

Now we’re getting into the good stuff, and we still have the best stuff to look forward to. How lovely. For anyone just tuning in, I started this worst-to-best ranking of modern Doctor Who two weeks ago with the weakest episodes in “I’m Sorry. I’m So Sorry,” continued with the middling ones in “Are These Good Episodes?” and here we are now in the penultimate entry:

(Spoilers!)

“These Episodes Are Cool”

"Quick -- where's my ruby-quartz visor?"

“Quick — where’s my ruby-quartz visor?”

#50 42: What should’ve been a wonderfully tense, 24-style thriller winds up being merely pretty good. Trivia as security questions? What?

#49 Tooth and Claw: A decent romp with a werewolf, ninja monks, and Queen Elizabeth. Not an all-time classic, but kind of fun.

#48 The Vampires of Venice: One that falls squarely in the “good dumb fun” category. The plot about fish aliens wanting to repopulate their species (while coincidentally resembling vampires) is kind of so-so, but the episode’s high on adventure and the Doctor makes a memorable entrance at Rory’s bachelor party. Continue reading

Every modern Doctor Who episode ranked from worst to best, part 2 of 4: “Are these good episodes?”

And we’re back for more fun with numbers as I continue ranking every modern Doctor Who episode from worst to best. I scraped the bottom of the barrel last week, so now we move on to the middling episodes. That sounds thrilling, doesn’t it? Even though I’m being critical here and these are flawed doses of the Doctor, they’re perfectly entertaining ways to indulge in 45-minute breaks from the world, but maybe only if you’ve grown tired of re-watching the best episodes too many times. I’d still take any of these over much else we find on television these days.

Now remember – Spoilers!

“Are These Good Episodes?”

Wokka wokka!

Wokka wokka!

#75 The Bells of St. John: The introduction of the “real” Clara (Clara Prime?) includes great bits, including nice scenes with the Doctor and his soon-to-be-companion plus a brief trip aboard a crashing plane. The sexism with the monks isn’t so great, nor is the idea of presenting Clara as a mystery to be solved rather than a fully formed character in her own right. And the plot about people getting trapped in wi-fi is pretty basic.

#74 The Name of the Doctor: Some cool ideas, like the Doctor visiting his own grave (the one place a time-traveler is never supposed to go—aside from pretty much anywhere in his or her own past, right?) and some incredibly poor payoff—namely, learning that Clara’s many lives existed just to keep the Doctor safe. The story feels like it needed more fleshing out for everything to work properly. Great final scene with River, though, that addresses the troubling end of “Forest of the Dead,” even if it doesn’t fix it.

#73 Gridlock: I have a heck of a time buying the premise that people would spend years in traffic traveling meters per day. A little more world-building could have clarified why they’re desperate enough to resort to travel that’s slower than walking. But the ending is wonderful, especially when the Doctor tells Martha about Gallifrey. And it is fun watching the Doctor jumping from car to car while trying not to choke on exhaust. Continue reading

Every modern Doctor Who episode ranked from worst to best, part 1 of 4: “I’m sorry. I’m so sorry.”

doc10openingThe Internet likes a good list, doesn’t it? A nice comprehensive, frivolous ranking of a beloved something or other?

All right then. Let’s do this. Let’s rank every episode of modern Doctor Who from worst to best in four weekly installments: “I’m sorry. I’m so sorry,” “Are these good episodes?”, “These episodes are cool,” and “Fantastic!”

I tried not to agonize over the exact rankings, because I wanted to be done this century, so assume a margin of error of plus or minus a few. If I did this a year later, the order would likely turn out differently. It’s all just my opinion, and I respect that you’ll likely disagree. (I know—how dare I rank that episode that low and that episode that high?) This is just for fun, a way to reflect on what’s been a great science fiction series overall.

I love Doctor Who even though not every episode is a winner, and I appreciate how hard it is to write for television. Both showrunners, Russell T Davies and Steven Moffat, have given us brilliant episodes, and both have been guilty of failing to rein in their excesses. Nevertheless, the show remains great on the whole, and I’m thankful for the many wonderfully entertaining hours both writers and their teams have given us.

But none of us are perfect. So in this first part, let’s get the misfires out of the way:

(Spoilers!)

Allons-y!

“I’m Sorry. I’m So Sorry.”

The Doctor as you never wanted to see him.

The Doctor as you never wanted to see him.

#97 The Sound of Drums/The Last of the Time Lords: It would’ve been much higher if I hadn’t separated “Utopia” from this three-parter. But no. That wonderful first part doesn’t deserve to be saddled with this train wreck. Both Russell T Davies and Steven Moffat have been guilty of mythologizing the Doctor, which is the wrong approach, but RTD gives us the most egregious example here. Martha travels the world convincing people to Tinkerbell the Doctor back to health, which results in a Jesus-like resurrection. No, people. He’s a runaway from a race of haughty time-travelers, not a Christ figure. And the Master’s insanity could be subtler.

#96 Love & Monsters: It benefits from an ELO soundtrack. And pretty much nothing else as our guest protagonist stalks Rose’s mother and a needlessly icky alien kills some nice people. And that girl’s really okay living as a cement face? Continue reading

Super Comics: The Walking Dead #1-6 (2003-04)

New post over at Smash Cut Culture!

Walking-Dead-1You might have heard about this little show on AMC called The Walking Dead that’s based on a comic book series of the same name, which has been going strong for something like 138 issues now.

For now, let’s just look at those first six issues, which are collected in the Days Gone Bye trade paperback, and compare them to the first season of the AMC show, which also happened to number six episodes. SPOILERS ahead (but just for that first season/first TPB).

Though they are different beasts, the similarities don’t end there.

The comic was created by writer Robert Kirkman and artist Tony Moore. Kirkman has written every issue of series, though Moore left after issue #6, and Charlie Adlard has kept things going from then on. The television show was brought to life by Frank Darabont of Shawshank Redemption fame (though he’s no longer the showrunner), and Kirkman has written some of the episodes.

That short first season of television is a mixed bag. The pilot episode is masterful. The second episode has some great tension. And then it’s a steady slide into mediocrity from there. The comic is more consistent in its quality level, though reading the first issue after watching the pilot makes the source material feel like the abridged version. An hour-long television show simply has much more room to breathe than a 20-or-so-page comic.

Read the rest here, please…

Super Comics: The Amazing Spider-Man #121 & 122 (1973)

New post over at Smash Cut Culture!

Amazing-Spider-Man-121-CoverSpoilers for The Amazing Spider-Man 2 ahead!

Don’t read if you’re still planning on seeing it! Avert your eyes!

The Silver Age of comic books arguably ended with a two-part Spider-Man storyline from 1973 titled “The Night Gwen Stacy Died.”

Written by Gerry Conway and drawn by Gil Kane, the story delivers exactly what the title says—though, to Marvel’s credit, they didn’t reveal the title until the end of the first part. Unlike in today’s spoiler-filled world, Gwen Stacy’s death came as a shock to ‘70s readers.gilkane-amazingspider-man-122

In the comics, Gwen was Peter Parker’s first love, first appearing way back in The Amazing Spider-Man #31 in 1965. Mary Jane Watson, whom Peter would eventually marry, was introduced as a romantic rival in #42. But Mary Jane wound up being the livelier character—a vivacious young woman who initially came across as shallow and flighty but was simply masking her true heart. Gwen, on the other hand, was just a nice girl.

So, to prevent Peter Parker from marrying a one-dimensional woman, the folks at Marvel decided to kill off Gwen.

It was one of, if not the first time the hero failed to save the girl—and not just Spider-Man, but super-heroes in general. Sure, they’d screw up from time to time, especially the Marvel ones, but outside of their origin stories, they seldom or never experienced irrevocable failure.

The rest can be found here.

Do women or men write better?

I never gave much thought to the question, but maybe a helpful infographic will come along and shed some light…

Oh, look. Here’s one, courtesy of your friendly neighborhood grammar checker, Grammarly.

MenvsWomen_Writers_infographicHonestly, I usually stay away from the battle of the sexes. (I come from a female-dominated family, majored in theatre, and work in an otherwise all-female office. I’d lose.) The above can be a fun statistical experiment, but it ultimately emphasizes generalizations and de-emphasizes the outliers. Lots of men and women are great writers. Lots of men and women are terrible writers. The bottom-line data says 59 percent of men and women believe women write better, which isn’t a huge margin and suggests gender is not a great predictor of a writer’s quality.

The data on sentences did jump out at me, however. Over 75 percent of women are more likely to write long, descriptive sentences vs. about 34 percent of men. That’s a statistically significant difference, and it backs up a trend in my dialogue. My female characters tend to be more verbose or prone to rambling, whereas my male characters use fewer words. Just compare Serissa and Rip in RIP. But there are exceptions, like the terse Mariana in Earths in Space. Don’t want to neglect the outliers.

I love writing those chatty women, probably because I’m not at all chatty. It’s a nice change of pace.

I don’t know if women or men are better writers. I don’t think the question matters all that much. But one thing I do know—men in general can do a better job of writing female characters.

Trust me, guys. It’s fun. And it’s not as hard as you might think, because you’re still just writing people…just potentially chattier people who are more likely to write long, descriptive sentences (but not necessarily!).

Hermione could’ve been a great lead in ‘Harry Potter’

Buzzfeed posted an article titled “If Hermione Were The Main Character In Harry Potter.”Hermione-Granger-hermione-granger-26743720-960-1280

When I saw the headline, I was expecting a story about a muggle-born witch rising out of humble beginnings to achieve greatness no one ever would have expected of her. Maybe Hermione would even going so far as to defy the prophecies surrounding “The Boy Who Lived” that everyone around her was taking so much stock in, and she’d be the one to defeat Voldemort, not Harry, because she built herself into a person capable of doing so, to heck with whatever was preordained when they were babies.

That could be a great self-made person story — and it would serve the cause of gender equality better than that Buzzfeed article about Hermione vs. The Patriarchy (though I don’t recall the actual Harry Potter series being sexist — after all, it gave us Hermione).

I get what the article is trying to do, but if that were an actual series, it would read like the feminist equivalent of Atlas Shrugged. On-the-nose preaching just doesn’t work as entertainment, and preaching doesn’t change minds. Show, don’t tell.

Super Comics: Uncanny X-Men #172 & 173

New post over at Smash Cut Culture!

UncannyX-Men173WolverineLet’s go back to the early days of the super-hero movie trend, to the first X-Men movie from 2000. (Spoilers ahead, but it’s been nearly 15 years.)

That movie featured Wolverine and Rogue as our viewpoints characters, and it built a friendship between, which culminated in Wolverine—at great risk to his own health—allowing Rogue to borrow his healing ability so she could recover from life-threatening injuries. I can’t find that scene on YouTube, but this is the music that plays during the moment.Uncanny_X-Men_Vol_1_173

I’m guessing that scene was inspired by the events ofUncanny X-Men #172 and 173 from 1983, which were written by main X-architect Chris Claremont and drawn by Paul Smith. This pair of issues serves a double purpose—to follow up the excellent Wolverine miniseries Claremont had just completed with artist Frank Miller, and to establish Rogue as a bona fide X-Woman. By the way, that Wolverine miniseries influenced aspects of The Wolverine movie from 2013, but that’d be a whole other article.

Rogue only joined the team in #171, and before that, she was primarily known as the bad guy who stole Ms. Marvel’s powers and memories—in an Avengers comic, since no competing studios were keeping Marvel’s mutant and non-mutant characters apart. Ms. Marvel was a friend of the X-Men and of Wolverine in particular. In today’s comics, Ms. Marvel has become Captain Marvel and is more popular than ever, and she’s set to star in her own film in 2018. But the ‘80s were not kind to her.

Read the rest, please.

Super Comics: Flash #73-79 (1993)

Attention, Flash fans new and old — I’ve written a post over at Smash Cut Culture that might be of interest. Anyone else remember this storyline?Flash_v.2_75

Barry Allen, like many comic book characters, used to be dead. But unlike most others, he stayed dead for over twenty years. Oh, he’s alive and well now—more so than ever, thanks to The Flash television series on the CW. Nevertheless, DC Comics once killed him off, giving him a heroic death in 1985’s Crisis on Infinite Earths miniseries, and he didn’t return until 2009’s Flash: Rebirth.

During that time, Wally West, the former sidekick Kid Flash, took over as the Flash. Wally was introduced in the late 1950s as the young nephew of Barry’s girlfriend Iris. (Unlike their TV counterparts, Barry and Iris were together from the Flash’s first appearance, and they did not grow up together.) When Barry and Iris eventually married, Barry became not only Wally’s mentor and idol, but his uncle as well.

Wally’s series ran for about 250 issues from 1987 to 2009, and his time as the Flash can be read as a coming-of-age story. He progressed from a self-centered, twenty-year-old kid to a family man and stalwart member of the Justice League of America.

A pivotal chapter in his growth occurred in a storyline called “The Return of Barry Allen” in 1993, which spanned issues #73 to #79 written by Mark Waid and drawn by Greg La Rocque. The story isn’t some good vs. evil struggle, but one with very personal stakes. It’s about the balance between idolizing your hero and becoming your own person, the importance of protecting a legacy, and the dreaded possibility that your role model might not live up to your expectations.

Read the rest, please.