CINDERELLA

Cinderella
Directed by Kenneth Branagh
Script by Chris Weitz
Starring Lily James, Richard Madden, Derek Jacobi, Cate Blanchett, Stellan Skarsgard, Helena Bonham Carter
2015, Rated PG, 112 mins.

Stories tend to (not necessarily need) to be updated for a new generation. Previous iterations of a long-told story just don't hold the same appeal to a good amount of the marketplace now, hence why we have Tim Burton's (terrible) ALICE IN WONDERFUL and upcoming (why, Lord, why?) DUMBO. It's why PETER PAN can't ever seem to have enough updates and reimaginings, and long cherished fairytale and Disney stories are getting big budget, CGI-fest new releases, cos kids young to young adult just can't be bothered with checking out some 40 year + titles. 

So if you're going to make a new movie based on a old property, there's got to be a point to it. In the case of CINDERELLA, a story told as often as Peter Parker's origin, it does a fine job of adding some additional layers of character and story beats, but overall, the ends don't justify the means. After all, when all is said and done, it really is just some glamorized retelling hellbent on rackin' up the budget on needless SPFX. But before we get to the film, a brief moment to talk about what preceded the flick.

A year and some months ago (can't believe it's been that long), FROZEN blew everyone's mind to become a cultural phenomenon, catapulting the title up to the fifth highest grossing movie of all time. Originally, I was a FROZEN naysayer, until I saw the film and instantly bit my words, so the announcement of this FROZEN FEVER short had me more giddy than the actual film I paid money to see. Ultimately, it was a wobbly production with quite a few flaws but ultimately saved by an innate love to see Anna and Elsa again in a non-ONCE UPON A TIME capacity. The skit itself is amusing -- now that the sisters are bonded better than ever, Elsa wants to get Anna the best birthday party possible, going all out while a simple hangout would do. Neat concept. 

The animation is solid work, nearly on par with the original movie itself. What's not so up to par are two things: (1) the song isn't all that good, frankly. And a call-back to FROZEN's most famous song feels shoehorned in instead of organic, and (2) despite being credited to the contrary, the voice talent barely sounds like Kristen Bell or Idina Menzel. There's a few instances it's full on Bell sounding, but Elsa never felt right. Still, great to see the characters again, and if the Disney chairman is to be believed, work is already underway on a potential FROZEN sequel, so, we'll see them again before too long . .. maybe by the time George R. R. Martin finishes the GAME OF THRONES series.

As a film, CINDERELLA is solid. Veteran director Kenneth Branagh has a keen eye, and the visuals never fail to impress. Nice, bright colors adorn every shot; hell, even the dirty attic looks pretty, and I've never seen Cinderella's glass slippers look shinier. On the surface level, there is nothing all that shoddy about CINDERELLA. 

Even the script is pretty tight. It moves at a brisk pace, the ending rearing its obvious markers in what feels like no time. Perhaps that's too its detriment, however. Perhaps there should have been a bit more breathing room, more time dedicated to character and allowing them ample time to just be. Cinderella's stepsisters particularly never overcome the long done portrayal of snotty, self-absorbed, materialistic gits - it would be interesting if they instead elected to take a fresh, slightly original take with them. Perhaps make them relatable and submissive to their mother's controlling, advantageous planning. As for the stepmother, on one hand, effort is put forth to make her a true antagonist right alongside William Turner, Jr., Stellan Skarsgard (which is much appreciated), but on the other hand, Cate Blanchett's talent seems almost wasted. 

Lily James is absolutely adorable as the humble, father loving daughter Ella who just gets the short staff on every occasion (and I can't emphasize enough how marvelous it was to see AGENT CARTER as James' mum!). Perfectly solid. If there is a complaint - and what would a movie blogger be without a complaint? - it's to do with the most culturally recognized scene of the entire story: the Prince's ball. Ella (who is given the lovely rebranding of "cinder" by her stepsisters) is a girl who is entirely out of her depth going to this ball. This is mostly a performance choice that I'm scrutinizing here. Instead of being awkward, unsure of herself, or at least portraying a person who is attempting to act like someone who belongs, there's this out-of-character performance as James makes Ella seem no different than a princess being brought up in the monarchy. Basically, I feel there should be some sort of awkwardness or uneasiness with this whole thing -- Ella happily embracing all the wild-googely-eyed men and women staring at her, her effortless dancing skills with the prince, etc. Instead, she simply owns it all effortlessly. My mom said, "it's magic!" Me? Not sold. 

Speaking of the handsome prince, poor Robb Stark cleaned up quite well. Richard Madden is a fantastically charming and individual-minded prince, easily making even me swell for the bloody guy.

Ultimately, CINDERELLA is a competent, very fine movie. It is not the new definitive telling of the tale, nor is it a wholeheartedly fresh or original take at the character. The original animated Walt Disney film would do just fine. But since this film exists, it's an actual thing now, it's a perfect acceptable, heartwarming tale of . . . what, exactly? Accepting oneself as one is? The movie is more concerned with hitting the necessary plot points its through-line isn't all that strong until the penultimate scene. 

Fans of Disney movies will love it, the ladies will be charmed by it, and critics will likely still grumble grumble over why this film exists in the first place. Still, if there has to be a modern day retelling of a gazillion-times told story, Branagh's CINDERELLA would be thrown into the 'win' column . . .

TV Watcher: 03/01/15 - 03/07/15

03.01.15 - 03.07.15

THE LAST MAN ON EARTH 101/102. "Alive in Tuscon/The Elephant in the Room". Now THIS is how you open a series. For months, FOX has advertised THE LAST MAN ON EARTH sporadically, with each new blurb and TV spot heightening my excitement for this project more and more. Add in the involvement of Phil Lord and Chris Miller (the duo behind LEGO MOVIE and 21 JUMP STREET), who also directed the two-part premiere, and there was zero chance I was skipping this series. Turns out, within the opening fifteen minutes of lunacy and isolation Phil Miller undergoes as he realizes, for some unexplained reason, he's the only man left alive after a virus outbreak, the show already hooked me. It managed to balance the somberness of Phil's realization with the comedy of Phil horsing around, with the world as his playground. 

The big question inherent in THE LAST MAN ON EARTH is, could this be sustainable as a series? Thanks to a clever secret revealed in the premiere episode and the direction episode two sets the series towards, yes, there's so much that can be mined from this premise. Will Forte easily sheds my distaste for him after the dismal MACGRUBER and creates a hilarious, empathetic character who's just given up, and as episode two rolls around and he's faced with a different but familiar living situation, his frustration and charm are beautifully leveled. And major props to the series for adding Alexandra Daddario in a hilarious and tempting cameo. Poor Phil Lord. 

In 43 minutes, this series has won me over, and the prospect of spending the next couple weeks watching Phil Lord mess everything up and acclimate to his new situation is irresistible. Excellent series, excellent work. Grade: A+

EPISODES 409. "Episode Nine". Well, that went by quickly. Season 4 feels like it just began, and here we are, already at the end. Was the ride worth it? EPISODES the series has always enjoyed a rather gradual pace that eventually culminates in a finale that twists things towards another direction, like last year's PUCKS is cancelled-but-now-resurrected-cos-of-higher-ups-bitch-fights, and this season ends on a note that doesn't inspire the most enthusiasm. The whole season has been rather light on comedic moments and a plot interesting enough to keep my attention, becoming more or less a show that I can rely on airing this time of year instead of a show I need to be steadfast and watch like some addiction. Real good story and comedic material could have been mined with everyone and the writers begrudgingly brought back to work on PUCKS, the show everyone in the cast and crew hate, but instead it's glossed over relatively quickly so the characters can concentrate on their new show in development. There's a fun Carol falling for people of power subplot that works extremely well for several episodes only to turn sour in a jealous-rivalry storyline. Even Matt gets two cool chances to stand out - a quasi-reunion with his ex-wife and a reluctant partnership with Lapedius. But, sadly, all these storylines end on a bit of a whimper.

Overall, the weakest season of EPISODES yet, but still a somewhat satisfying adventure. With a season five renewal (as far as I understand it) still up in the air, regardless of what direction the wind blows, it's been a great run, and a fun series to watch. Season Grade: B-


SHAMELESS 507. "Tell Me You Fucking Need Me". After the amazeballs season 4 mid-credits surprise of Jimmy/Steve's apparent resurrection, the Fiona/Jimmy reunion was the storyline I was looking forward to the most this season, and it didn't disappoint. Initially, I suppose I was in the camper van of folks who would like to see their relationship rekindled, but as these three episodes pointed out, y'know, Jimmy isn't exactly a good guy. He's a thief, a liar, and a manipulator who uses situations to his advantage. How their relationship concludes with this episode is sublime. After dealing with her "unfinished business", Fiona realizes it's time to move on, as difficult as it may be, and Jimmy rides away, motorcyclin' into the night. It was a fine line the writers walked with these two characters this season, and the end result was immensely satisfying. Although, sadly, I do now have to recognize this is the last of Dichen Lachman we'll see on the show. She's a terrific actress (see: DOLLHOUSE), and it would have been preferable to see her get an expanded role, but even a tiny bit of Dichen is better than no Dichen. 

Watching Ian's reluctance to acknowledge his bipolar disorder is heartbreaking, as if Mickey being shaken up after seeing his boyfriend's aloofness. Debbie finally winning the boy was a wonderfully light and heartwarming moment in a series of grim storybeats, and the Frank and Sammi's dynamic reaches a threatening crescendo (not the best subplot, but they have to give these characters something to do, I suppose). As it stands, Lip and Fiona's storylines are the most compelling, and although the likelihood of either Gallagher getting it easy for the remaining season 5 episodes is unlikely, I can't wait to see what happens next. Although, I can, sorta, cos I don't want this season to end . . . Grade: B+

JUSTIFIED 607. "The Hunt". It's all coming to an end. There are two standout sequences this episode: (1) Art and Markham having a face-to-face. If there's been only one strength this sixth season has mastered, it's these amazingly gripping dialogue bits with Markham and another character, be it Raylan, Boyd, Ava, or Art. It's a testament to the strength of Sam Elliot's delivery and piercing stare, but also to the extraordinary writing. This episode delivers a Art/Markham scene that will probably pay off later, but for now, it was just marvelous watching two pro speakers and actors playing off one another. (2) The Boyd/Ava scene out in the woods, where all gets revealed, and Boyd is faced with a terrifying thought about his sorta-fiance. It was inevitable that Boyd would find out, but I was, I suppose, hoping for more. As of yet, the Ava working for the Marshals has yielded no helpful results. There's been so much emphasis on her emotional state - and understandably so - but she has yet to really help the Marshals in any major way, and now the likelihood is Boyd will ask for Ava's help to steer and manipulate the Marshals to his will. For as strong as Joelle Carter has been this season, her character has less impressive. 

It's been too long, but Winona is back on our screens! It's a pleasure to see the beautiful Natalie Zea back in the JUSTIFIED universe, and I am all too pleased at the understanding she and Raylan arrive at near episodes end. That being said, it pretty much spells doom for these characters - the likelihood of a happy ending for these two is, shall we say, fairly slim. Another great element of this episode - and this season overall - has been Garrett Dillahunt as Ty Walker, who's now on the run from the Marshals and Markham, making him a dangerous beast. Each scene he's in with another character always has this edge to it, this sense that he could strike a lethal blow at any second, or that he's always in control of the situation no matter how dire. After the highly depressing departure of Choo-Choo last week, Ty is still strong enough a character to keep me glued, and now as a dangerous man with no allegiances, it'll be interesting to see where this goes. Mere episodes left . . . not ready for this to end. Grade: A-

THE DUFF

Bianca (Mae Whitman) shines in this hilarious teen comedy.

The DUFF
Directed by Ari Sandel
Written by Josh A. Cagan
Based on the novel "The Duff" by Jody Keplinger
Starring Mae Whitman, Robbie Amell, Bella Thorne, Bianca A. Santos, Allison Janney, Skyler Samuels, Jen Jeong
2015, PG-13, 101 mins.

Flashback a couple years ago, critics and audiences alike were gushing all over EASY A, the Emma Stone-led teen comedy that everyone cited as invoking the relatability, romance, and contemporaryness of those John Hughes movies of the eighties - but, y'know, nowish. I personally never bought a ticket on the EASY A bandwagon of love, although I do admit it's a darn good movie with one beautiful and talented lead actress, but it never really deserved all the kudos it got. 

With THE DUFF, here's a situation where I feel that here's a movie that completely deserves all those accolades - the relatability, the feel-good romance vibe, and firmly reflecting the contemporary culture in which it's set - probably won't get its due from critics and the mass audience, and that's a shame, cos THE DUFF is a gem. 

D.U.F.F. means Designated Ugly Fat Friend - now, the Duff doesn't necessarily have to be ugly or fat, they're just the least desirable member of a group. Compared to her friends Jess (Samuels) and Casey (Santos), Bianca is the DUFF, a fact  brought to her attention by next-door neighbor/long-ago friend Wes (Amell), the football player with abs of steel . Understandably pissed at this new revelation that completely alters Bianca's perspective of her role in her friendships and self worth, Bianca cuts a deal with Wes - help her overcome her DUFFyness to ask out Cute Musician Boy Toby she's crushing on, and she'll help him pass his studies. It's a match made in screwed up heaven.

At the time of this review, I've watched THE DUFF twice, and hope to again before it leaves theaters (although that might not be too far in the future, thanks to rather weak box office receipts). It's that fun and that good. Mae Whitman's vulnerable yet tough performance as Bianca is impressive enough to easily tempt me to check out NBC's PARENTHOOD series, or at the very least, eagerly await whatever projects she has coming up in the pipeline. The script is funny, with great jokes, self-deprecating humor, a bit of a meta edge, and best of all, a tone that doesn't take itself too seriously. Amell is perfect as both encapsulating and then subverting the football jock stereotype, lending a certain charm and nuance to the role that could otherwise have been lost in the hands of another actor. 

Thing is, THE DUFF just works. Right  from the beginning, with its technology saturated opening exposition to a brilliant social media de-friending scene about halfway through the movie, to the hammy but enormously satisfying finale and YouTube-y closing credits, the tone works, and with two irresistibly attractive and endearing leads delivering the scripts sharp jokes, it's easy to get why multiple viewings only help make the viewer love it more (or maybe it's just me; for all I know, I'll convince you to see it, and you, gentle reader, will find it positively rubbish, but I properly don't think so). 

Hell, any movie that makes Ken Jeong sufferable and even prompting a laugh-out-loud moment or two is well worth a recommendation. After five seasons on COMMUNITY trying my patience at every turn, it's a nice, very welcome chang of pace not to hate the guy (see what I did there?). If there's any criticism to be had, the movie does end a wee bit too quickly, culminating at a school dance where Bianca sort of abandons her friends without any exchange between the three parties. It's an off-putting moment that slightly dampers a victorious vibe. Earlier on, there's a hilarious CG-fail involving a lawn mower and clothes that is just so lazily put together, it adds its own layer of laughability.

All in all, THE DUFF, from a structural, storytelling standpoint, doesn't break any new ground, and similar to EASY A, it nails the Lesson We're Trying to Convey Here a bit too heavy on the nose, but the fact the leads are so damn good and funny, and the script barely goes a scene without a clever wit or charm easily makes this one of the more entertaining and fun times at the movies in quite a while. Strongly recommended, cos, y'know, laughing is good. And Mae Whitman is pretty.

The Rambling Geeks Podcast - Episode 8: KorraCast, Part 1!

 Time to celebrate 10 years of AVATAR!

Team Avatar is reunited! Meaning, rather, that Andy, Tom and Dave are back once again, ready to nerd it out on the sorta-kinda Nickelodeon hit TV show THE LEGEND OF KORRA! Listen as Andy trips over his words in unbridled excitement and enthusiasm at the chance to talk KORRA! Listen to Dave as he robotically analyzes the shit out of the series, and offers some genuine bits of kudos! Listen to Tom get deep about technicalities and gush over Varek and Zhu Li! The gang discuss in-depth Books 1 and 2 of KORRA, "Air" and "Spirits." Check back next week for Part 2, as we close out Team Avatar and say a very sad goodbye to LEGEND OF KORRA.

As always, leave comments and suggestions below! Thanks for listening!

The Rambling Geeks Podcast - Episode7: Trailer and Comics Breakdown!

The Rambling Geeks - Episode 7

Trailers and Comics Breakdown!

After sitting the last two movie-related podcasts out, the Rambling Geeks reconvene to talk all about superhero nerdom! First up, discussing the latest crop of trailers for 2015's roster of superhero movies - FANTASTIC FOUR, AVENGERS: AGE OF ULTRON, and ANT-MAN. Afterwards, we catch up on the latest episodes of The CW's ARROW and THE FLASH as they resume their seasons after the winter break, and conclude with a deep look into the latest going on's of DC's BATMAN title and the early issues of SMALLVILLE SEASON 11 by Bryan Q. Miller.

As always, comment with feedback below! Thanks for listening, folks!

NEXT: Our LEGEND OF KORRA roundtable discussion!

The Rambling Geeks Podcast - Episode 6: Movie Awards and the Worst of 2014

Schuyler (left) and Andy (right), the Dynamic Duo!

Special guest Schuyler (of Mostly Movies with Shoutsma) and Andy conclude their conversation about the good and bad of cinema in 2014, ranting about the pitfalls of the misguided Winter's Tale and the abomination that is Transformers: Age of Extinction! But all is not for bad, cos after the ripping and shredding is over, the Dynamic Duo give out their own 'awards', recognizing the best in visual effects, cinematography, writing, performances, and commenting on the most memorable scenes of the year!

Thanks for listening, and as always, give us your thoughts and comments below!

The Rambling Geeks Podcast - Episode 5: Top 10 Movies of 2014

IT'S TIME! Co-host Andy (me) is accompanied by a spectacularly entertaining guest in the form of Schuyler of Mostly Movies with Shoutsma! If his voice sounds familiar, it's because Schuyler was the anchor of the Filmography podcast from Mankato University! After five months without sharing a mic together, the dynamic duo have reunited to talk long and in-depth about their favorite movies of 2014. There's some surprises, some rants, some jokes, and every once in a while, some proper insight. Have a listen, and as always, leave comments and thoughts below! What are your favorite movies of 2014?

This podcast is Part 1 of 2 celebrating the good and bad of cinema. Check back next week for the less than good movies of the year, and some special Rambling Geeks awards!

The Rambling Geeks Podcast - Episode 4: Gift X-change and Christmas Specials!

Tom's gift X-change!

'Tis the season, and the Rambling Geeks celebrate it with a gift exchange of nerdy proportions, and segue into the main topic of discussion - Christmas specials! With the likes of Supernatural, Doctor Who, Power Rangers, Batman, Smallville, and the infamous and quite banned Star Wars Holiday Special under discussed, the Rambling Geeks embrace the Christmas season!

As always, comments and feedback are welcome! Voice your opinions below! See you in 2015 where another guest caster will stop by to go over 2014 in  cinema, and the geeks give a fond and critical look back at the wave-maker series The Legend of Korra.

Merry Christmas everyone, and thanks for listening!

The Rambling Geeks Podcast - Episode 3: Midseason Finales & 2014 Superhero Retrospective!

Podcasters Tom (left), Andy (middle), and Dave (right)

The Geeks are back! Join co-hosts Andy and Tom as they're joined by special guest Dave (from the Four Geeks and a Microphone podcast) as they discuss the first nine episodes of THE FLASH and ARROW, and delve deep into the analytical well as they discuss the 2014 helpings of superhero goodness, CAPTAIN AMERICA: THE WINTER SOLDIER, THE AMAZING SPIDER-MAN 2, X-MEN: DAYS OF FUTURE PAST, and GUARDIANS OF THE GALAXY.

Some quick notes:

• This was the most fun of the podcasts to record thus far, and we'll definitely have Mr. Dave come back for an encore. Look for a potential scene-by-scene analysis of DARK KNIGHT RISES in the near future!
• At the hour and 40ish minute mark, there is some brilliant hilarity. 
• I made two blunders in the podcast: (1) I mistakenly thought AMAZING SPIDER-MAN 2 was the first superhero movie of 2014, that error is realized in the podcast, and (2) there has been, in fact, one Godzilla movie that exceeded a $10 million budget, and that was GODZILLA: FINAL WARS with $19 million.

And that concludes my notes. Enjoy and comment below!

Doctor Who 802. Into the Dalek

Doctor Who

802. Into the Dalek

Written by Phil Ford and Steven Moffat

It's a good, solid Dalek story, reminding viewers that these creatures are, in fact, a formidable threat. And it's one of the better second New Doctor stories in a while. There's still a couple of nooks and crannies that could use improvement, but overall, "Into the Dalek" is a well crafted story that shows early promise for the direction Series 8 is heading.

What if a Dalek got so topsy turvy that it actually became good? And out of sheer luck, The Doctor is brought face to face with one - his new patient. The thing still doesn't have a clue who The Doctor is, insofar as the past these two species share, so the heavy drama comes from the seemingly perpetually cross Doctor, who's sickened by the things very existence, but reluctantly intrigued by what this development could mean.

Look, the Daleks are ridiculously overused. 2012's "Asylum of the Daleks" was terrific, it honestly, properly was. Some gorgeous set design and CG work. It didn't necessarily make the villains scary again, but it did make them interesting for the first time in ages. Then they popped up again in both 2013 specials, one for the dramatization of the Time War (plus, how does one have a 50th Anniversary year without the Daleks, eh?) and the other to ensure The Doctor's death on the fields of Trenzalore in "The Time of the Doctor". So, they've been used sparingly in the last year, but for some reason it still feels like Dalek overload. Yet, admittedly, the Daleks work.

Don't get me wrong, this episode still didn't really educate me on Dalek anatomy (same way as "Journey to the Center of the TARDIS" failed to really illuminate the labyrinth that is The Doctor's time capsule) and hearing the Daleks shout "Exterminate!" every second and a half like they had to say it to work a Dark Arts spell was nails-on-chalkboard irritating, but the Daleks were powerful for the first time in ages. For me, they will never invoke fear like they did for children back in the sixties, watching them for the first time on Skaro (which got a name drop this episode! woot!), but "Into the Dalek" and "Dalek" are really the only two times the viewer gets the sense that these guys are serious trouble, and could, in fact, be badass enough to defeat the Time Lords.

Now, the bigger question of "Into the Dalek" was: did Peter Capaldi improve on his performance as The Doctor, and is there a better sense as to who this character is? For the most part, yes. Capaldi's darker, less tolerant Doctor is established pretty much immediately with a wonderful scene between Journey Blue, the girl he saved, and himself, as he badgers her about the appropriate way of asking to be brought back to someone's ship. It's a great scene - hell, if this episode did anything right, it was setting up who this Doctor was better than last week, and I suppose that's the point. Have "Deep Breath" question this new man, and have the Doctor's greatest foe validate him as the universe's greatest hero and greatest weapon.

The Twelfth Doctor, the stern and ruthless calculator who capitalizes on people's imminent deaths to accomplish a goal ("I was saving us, he was dead already!"), who gauges his morality with a question to Clara ("Am I a good man?"), and who is complimented by the Rogue Dalek as the personification of a "good Dalek." I can dig this. This works. Capaldi's performance still has areas of wavering and not quite selling the character instead of the performance, but overall, his work took a giant leap forward with this episode.

Clara continues to be the real strength of the series, completely owning the two 2013 Specials and these last two episodes. Her attitude towards the Doctor and her fun flirtatious side with the newly introduced Danny Pink (Samuel Anderson) presents her as someone with spunk and charm. Oh hell, enough yabbering, she was terrific, and although Danny's introduction did seem a bit melodramatic in some aspects (predominantly the bits where his past as a soldier is brought up), there were enough comedic beats to make it fun. 

Just throwing this out there, although it'd be too obvious - Journey Blue is a descendent of Danny and Clara's children. I think it'd be kinda cool to have a Companion meet their future lineage, but again, might be too obvious. Why would Ford and Moffat have a character comment on "Blue" and "Pink"? Either throwaway gag, or deeper meaning.

Now that's just a flippin' cool shot. So is this:

Overall, good episode with amazing pacing. It felt like a whole story was told without feeling rushed. A strong introduction to Danny Pink, and a strong characterization of the Twelfth Doctor that was mostly captured by a wavering Peter Capaldi. "Into the Dalek" is one of the better, more interesting Dalek stories around - although it woulda been nice if the Dalek interiors had something a little more original and captivating - but I'd be more than happy not to encounter the Daleks for another year.

Notes & Thoughts

• There is something absolutely ridiculously satisfying in watching Daleks get blown to bits in this episode, right? We get to see (at least) five Daleks explode in camera with practical effects. Oh, it's beautiful. It really is.
• Amusing observation (at least for myself): in both Matt Smith's second episode and Peter Capaldi's second episode as The Doctor, they (and their companions) are forced down a tunnel and into a big pile of sludge, both inside a creature of some kind. Interesting, no?
• Also about prior plot points making their way into this text, I did like The Doctor's aversion to military characters being incorporated here. The Doctor has never had a real like for people with guns - a tolerance, sure, but never a real fan - and that's reinforced here with his dismissive affront to Journey Blue's request to join him. I dig the continuity of character.
• Speaking of which, quote time: "I think you're probably nice. Underneath it all I think you're kind and you're definitely brave. I just wish you hadn't been a soldier."
• Although this now makes me sad, realizing that even if Lorna Bucket had survived the Battle of Demon's Run in A Good Man Goes to War, The Doctor wouldn't have picked her up for journeys inside the TARDIS. Bugger.
• I could go another year without hearing a Dalek belch "Exterminate!" Oh my god, there was way too much of that this episode. Anyone else feel the same?
• Interesting note: the original script included a sequence where the One Dalek Killing Machine boarded the Dalek mothership and initiated its self destruct, destroying the Dalek ship in a vicotrious explosion. I was looking forward to seeing that. Pity it was excised, although I haven't the foggiest why - budgetary purposes, perhaps?
• So Missy the Heavenly Gatekeeper makes another appearance this week (this series' Eye Patch Lady?), and the main consistency between both appearances is that it's connected to The Doctor - victims of the Doctor's actions. So, whoever dies directly by choices of the Doctor. 'least, that's my working theory. But, for what purpose?
• Next week is Mark Gatiss taking a swing at Robin Hood. Not the hugest Gatiss fan, but this looks like a fun romp at least. Plus, this shot from the Next Time trailer, love it: