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Expect heavy nitpicking, sarcasm and cynicism- or at least you would expect that if I was a professional reviewer.

A Tale of Two Peters: The parallels that connect Davison and Capaldi

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Over the past few weeks Twitch has been airing a giant Classic Doctor Who marathon, from An Unearthly Child to Survival, presumably to allow new fans to catch up on the old show before Jodie Whittaker makes her debut this October. It’s been a great time for me, as whilst I’ve seen the episodes before it’s great talking to other Whovians on Twitter and through Twitch chat and seeing new fans discover the joy that is the classic series. Ian Chesterton is a meme, Patrick Troughton has a legion of new followers and it’s great seeing Elizabeth Sladen’s legacy being continued even today through her stories. Today sees the Peter Davison era start with his first three stories airing today. His Doctor is generally well liked (particularly by a certain Whovian called David Tennant) but his era is often seen as the beginning of the end of Classic Who, with story quality dropping and the once large audience fading. Sound familiar? That’s because we’ve just seen this happen as new series fans, with Peter Capaldi. Annoying companions? Check. Reliance on the past? Check. Audiences leaving and viewing figures dropping? Check, check and double check. These two Doctors are about as different to each other as you can get, yet the eras have so much in common. What makes the weakest era in the classic series similar to the weakest era in the new series apart from the leading men being called Peter? Let’s find out.

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Skulduggery Pleasant: Midnight review

The latest book in the Skulduggery Pleasant series has been out for a while now, and after spending the past two weeks engrossed in the latest book involving Derek Landy’s Skeleton Detective, I am desperate for more. This book is once again a strong and captivating read that effortlessly continues the story established in the past ten books, whilst never feeling derivative. Midnight continues from the semi-cliffhanger of Resurrection, and sees a grown up Valkyrie and a more forlorn Skulduggery once again being forced to work together and fight the forces of darkness.

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Solo review- Is the Force strong with this film?

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It seems like only yesterday the film world was divided over the quality of The Last Jedi. In reality, it has been five months although that is admittedly a short time for Star Wars films to premier. Solo, the stand alone Han Solo prequel film, has been mired with some difficult behind the scenes issues and a bizarre marketing campaign, but now it’s here the whole world can experience the finished product. Is it worth the wait? I think it is. This is a fun and unique entry into the Star Wars saga and well worth a watch.

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My Top 10 favourite films- redux

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Waaaay back in 2013 I did my list of favourite films. Well, I was 12 then and hadn’t seen as many films as I have now, and with my film studies course I have been checking out films I never thought I would see. My new found passion for films has opened my eyes to what truly makes a film great and why I personally love them so much. There’s some films on this new list that were there before, and some which weren’t, including number 1. I regret not being able to stick in my childhood movie, The Nightmare Before Christmas, but there was just too much competition. Let’s dive right in with-

10. Alien

This is quite possibly the best paced film in the history of cinema. I’m not a massive horror fan, but combine the slasher genre with the sci-fi genre and you have a winning combination that appeals to me in every way. Everything about this film is masterfully done, with a slow build up that escalates into something utterly insane. The set design and production values are second to none, and this still looks amazing nearly forty years later. I was on the edge of my seat the whole time I watched this, and I only saw it recently. I’m glad I did, as not only has it inspired my recent writings and ideas, but it prepared me for my current film studies unit, where Ridley Scott is one of the auteurs we are studying. He is a master of detail and visuals, and this film has some of the best production design and atmosphere I have ever seen. It’s such a stunning film on a purely visual level.

 

This is a rare film where everything clicks into place. The direction is outstanding, the use of silence is genius, the acting is genuine and believable (the chest-burster scene had real reactions from the cast, who did not know there would be that much blood) and the script is brilliant. On top of being a terrifying sci-fi/horror film, this film throws in social commentary through the android Ash, with the implication that the Company are willing to throw away human lives for the sake of studying the alien and that Ash is willing to do anything to achieve the Company’s goal. It’s subtle and not in your face, leaving the main story focused on the survivors battling an unknown, unstoppable force. The characters are not the most complex but they are relatable and human- Ripley is of course one of the greatest sci-fi heroes ever, female or otherwise. Every other scene tops the last one in intensity and drama and this is why I prefer Alien to basically every other horror film ever (barring John Carpenter films). Ridley Scott approaches jump scares and gore subtly and implies more than shows, barely showing the alien despite the brilliant costume. It’s directing choices like this that allow me to appreciate the film more than just a slasher/horror film, which I’m not a big fan of otherwise. In terms of atmosphere and sheer thrills, very little comes close to this film. I love Aliens (I haven’t seen the other films other than the first two, and I don’t think I’m missing much) and I love some of Ridley Scott’s other films (Blade Runner, Gladiator and The Martian come to mind) but this is his masterpiece. It’s a worthy addition to my favourite films list.

9. The World’s End

If there’s any filmmaker working today who is worthy of the title “film auteur”, it’s Edgar Wright. He is responsible for some of the best and funniest movies I have ever seen, with Baby Driver being one of my favourite films of last year. What I admire most about his films is how he makes movies that are simple and fun on a surface level, but very complex and thematic when you take a closer look at them. You can write whole essays on his films (I did) and in the conclusion to the superlative Three Cornettos Trilogy, Edgar Wright gave the world his absolute best, in my opinion. The World’s End is a perfect combination of laugh out loud comedy with very real and dramatic ideas and themes driving the narrative forward. It’s a film that stays with you long after you finish watching it and I can’t think of a more perfect end to the trilogy.

Let’s start with the ingenious premise. What if a British pub crawl by five friends became a fight for Earth? And what if the friends are too drunk to even notice until halfway through that their hometown has been taken over by robots-that-aren’t-robots/blanks/smashy smashy egg men? And what if the leader of the group is a man-child living in the past, only being able to gain fulfilment in life by completing the pub crawl he started at seventeen? Comedy gold and heavy introspection about personal fulfilment and nostalgia ensues. Everything about the script (written by Edgar Wright and star Simon Pegg, who was snubbed for a Best Actor nomination that year) is top-notch. Gary King is a masterpiece of a character and commands the film from beginning to end. He is utterly reliant on nostalgia and the past, believing that the past is better than his life as an adult. In contrast to the rest of the characters, Gary hasn’t moved on, seeing The Golden Mile as the only way to progress. The alien invasion supplements this, as the aliens recreate the town’s past in their plan for domination, and it takes a character as over the top and counter-culture as Gary King to stop them. Even with all the complex themes, the movie is still hilarious and has a strong and engaging mystery plot, coupled with awesome action sequences and a sense of fun. Many fans of the other two films in the Cornetto trilogy see this film as too dark, but for me it’s the perfect way to end the most intelligent comedy series ever made. It’s about moving on from the past and forging a future in a changed world. Edgar Wright has never made a bad film (heck, he’s never even made a good one, they’ve all been amazing) and this is my favourite.

8. Monty Python and the Holy Grail

The. Funniest. Film. Ever. I mean, there’s laugh-a-minute and then there’s Holy Grail. Every joke hits and there’s pretty much every kind of joke imaginable- visual comedy, character humour, puns, innuendo, slapstick and fourth wall breaking. Monty Python are pretty much the crown jewels of British comedy and this film is the epitome of why we Brits are the kings of comedy. Even if you’ve never seen this film, you know at least 75% of the film due to its placement in pop culture. In fact, in Britain Holy Grail is required as part of the English National Curriculum (I’m joking, but I wish it was). How many people don’t know the Black Knight scene off by heart?

The genius of this film is taking the material completely seriously and yet not at all. The problems with the majority of comedy nowadays is how they always mention how silly they are, whilst Monty Python take everything in the film as if it’s normal. The coconuts-as-horses, the Black Knight losing his limbs and the Knights who say Ni are treated perfectly normally and straight. I cannot emphasis how important it is to take comedy material seriously, especially if it’s ridiculous. It sounds weird, but it is vital for comedy to be treated seriously to work. Holy Grail is such a crazy and over the top film that is highly entertaining. It’s Flying Circus with a budget and it’s probably the second best continuation of a TV show in film, the first of which I’ll get to later. My absolute favourite set piece in the film is the utter perfection of the bridge scene, taking in every running gag of the film and it gives every character something funny to do. It’s also a great film to study if you want to know where Terry Gilliam gets his mad genius from in his other films like Brazil and Time Bandits. This isn’t a deep or complex film, it’s just an absolute blast that will never get old.

7. The Empire Strikes Back

Thirty years and seven movies on, and Star Wars still hasn’t topped one of the greatest movie sequels of all time. I have seen this film five times and every time it is a fantastic experience. Everything great about the first film is expanded upon and twisted to create both a perfect continuation and a standalone masterpiece that still holds up. Pushing aside the memes, the iconic twist and the parodies, the film stands as an examination of power, family and good vs evil. This film has been examined and analysed so much I almost feel like summarising it is pointless, but there is so much to this film that I absolutely adore. Right down from the opening Battle of Hoth to the iconic final shot, Empire Strikes Back is perfectly structured and paced. It splits the heroes up and forces all of them to confront new challenges and ideas.

Infinitely darker and introspective than the first, this sequel is all about how to deal with all-oppressive odds. Luke’s journey in this film takes him from a optimistic hero to a broken character who nonetheless breaks through his trauma to continue fighting the Empire. He meets Yoda and finds out that the Force does not define who a person is- the person defines who the person is. A little green man ends up being the driving force of the film’s themes and I cannot emphasise how profound and well written the Dagobath scenes are. The special effects and action scenes add rather than detract from the story and still look amazing, with the majority of the model work still holding up to today’s CGI. John Williams is the MVP of the film for me. How can you not hum the Asteroid theme or The Imperial March? For all the flashy effects and action, the relative lack of plot supplements the highly personal and emotional story being told. It’s about the rights and wrongs of the Force and the negatives of heroism, yet it is also optimistic in its outlook about friendship and the goodness inside everyone. The highlight of the film outside of Yoda is Darth Vader, the greatest movie villain of all time. His cool presence, commanding character and surprising depth and complexity make him a fascinating character to watch, and it’s made all the more brilliant by the still amazing twist. Everything about the movie is building up to that brilliant, genre defining moment which changes everything. Now Luke isn’t just fighting to save the galaxy, he’s fighting to save his father and bring balance to the Force. I don’t think I need to go any further, this movie is iconic and it deserves to be.

(Slight edit here: I thought I scheduled this post for the 7th of May. Turns out it was the 4th. May the Fourth Be With You.)

6. Spider-Man 2

I’ve gushed about this movie before but I think I only scratched the surface on why this movie is a masterpiece. It’s the best comic book film ever made in my opinion, and only The Dark Knight, Logan, Black Panther and Hellboy 2 come close. Sam Raimi took a beloved character and solid foundations with the first film and made a film that’s less about superheroes and more about what it means to grow up, change and be a better person, and he did it with an amazing story combined with astonishing action, humour, respect to the source material and so much more to create the perfect superhero film. Even though this film is over ten years old, I still don’t think the superhero film genre has ever come reached the perfect heights of what was achieved in this film- a perfect blend of comic book action and themes combined with the added benefits of the film medium- acting, directing, special effects, framing of shots and Danny Elfman’s amazing music which all add up for a perfect cinematic experience.

This perfect sequel takes everything about the first film and makes it even better than before. The core premise of the film, and indeed the Spider-Man mythos, is what it means to be a hero and how doing the right thing isn’t always the most desirable. In this film, Peter struggles to balance his normal life with Spider-Man and eventually gives up the latter, causing his life to improve. But the city suffers, crime goes up and Peter realises that he is bringing hope and peace to people as Spider-Man, causing him to return to superhero life. He chooses to be Spider-Man because it’s the right thing to do, even if it isn’t something he absolutely wants. This deep introspection could make for a film that forgets to be a comic book adaptation (for all its merits The Dark Knight isn’t really a comic book film in the same vein this is) but the bright colours, campy nature, moments of humour and the brilliant cheesy heart of Stan Lee and Steve Ditko’s creation makes Spider-Man 2 a comic book brought to life. Doctor Octopus could very well be my favourite comic book movie villain who is simultaneously sympathetic and delightfully evil. It’s no wonder that this movie won Best Visual Effects at the Oscars as Doc Ock’s tentacles are some of the cleverest and well thought out visual effects I have ever seen. The train scene is the best action scene I have ever seen, the script is complex and yet at the same time simple in its execution. We don’t need to be told Peter’s angst, we’re shown it through the metaphor of him losing his powers and then through the dual plots of Peter abandoning his costume whilst Harry Osborne embraces his father’s. It’s just such a well written and put together film that still holds up after all this time.

5. Jurassic Park

Nothing beats classic Steven Spielberg. Every filmmaker who seeks to make a blockbuster should watch this film to find out why this film is so beloved whilst so many imitators fall. It isn’t about effects or action, it’s focus on story, character and other themes that tie the movie together. Behind the still incredible special effects and iconic scares, Jurassic Park is a cautionary tale about science vs man and the dangers and ramifications of tampering with the natural order of the world. This makes the film so relevant now, as advances in science may make places like Jurassic Park a reality soon. But is it right? The film doesn’t take a side and doesn’t answer the question, leaving it up to the audience to think about the themes at play. It helps that the characters here are far more sympathetic than in the book, allowing their various ideologies to play off each other brilliantly.

But the themes at play are just one of the reasons I love this film. Everyone knows the story and it’s simple but brilliant. The characters are engaging and because the first half focuses on developing them, you really care for them when the dinosaurs attack. Oh, and the dinosaurs. The dinosaurs are the crowning jewel of the whole film, with revolutionary effects by Stan Winston bringing them to life. It’s not just CGI, but amazing practical effects and puppets too. The film still looks amazing to this day. But good effects are nothing without a strong director, but thankfully Spielberg is the master of thrills and spectacle. He builds up the tension of the T-Rex paddock attack and the raptor attack in the third act so perfectly it’s no wonder he is so lauded as a filmmaker. I cannot state how great the structure of this film is, setting up the tone and characters excellently before forcing their personal conflicts against each other when the situation gets serious. Grant has to look after children, Hammond has to come to terms with the consequences of what he’s done and Jeff Goldblum (yes I know his character has a name but he is Jeff Goldblum) has to work with the others and set aside his personal grievances. Hammond in particular is a great character, as his actions are completely understandable. Who wouldn’t want to save species from extinction and exhibit them for the world to see? The audience know he’s wrong, but they understand. It’s subtle character work like this that make this film so much smarter than the average blockbuster. And of course, what mention of Jurassic Park can go ahead without the magnificent John Williams, delivering my personal favourite movie score. A classic theme for a classic film.

4. Up

To date, this is the best animated film I have ever seen. Pixar are probably the most consistent and enjoyable movie company around  and this is their magnum opus. What seems to be on the surface a kid’s film about an old man and a boy flying off to meet talking dogs and giant birds turns into something immensely mature and thought provoking. It’s about letting go of the past, learning to live life to the full and accepting loss. Not too shabby for a film that also happens to be gut bustingly funny and entertaining for people of all ages. This is such a staggering achievement for animated film that it even got nominated for Best Picture in 2009, and I have to say they made a good call nominating it. Many other Pixar films such as Inside Out, Toy Story, WALL-E and Finding Nemo are excellent, but my favourite will always be Up.

A lot of people talk about how the opening of this film is so good it overshadows the rest of the film. I agree to an extent, but the rest of the film serves as a perfect continuation and without it, the opening scene lacks the added poignancy. Charles Muntz is also criticised as being a weak villain, and while he’s not Pixar’s best one he is still an important part of the film. Carl’s whole life has led to his aim to be like Muntz, and when he finally sets off to Paradise Falls he expects the hero of his childhood to be there. By revealing that Muntz is a murderous psychopath, Carl’s whole journey and struggles become pointless. He questions what his life has led to until Ellie’s message reminds him that he’s had his journey with her and that now he must have another one- with Russel. Everything about this film is tied into this message. By becoming a father figure, Carl becomes to Russel what Muntz never was to Carl, and is also able to have the child he always wanted. Seeing the two leads go from mutual dislike to accepting each other unreservedly is one of the most satisfying character arcs in film history and it’s a joy to see. Despite this film having some incredibly mature and thought provoking themes, this is still a Pixar film, so hilarity will of course ensue. My personal favourite gag involves the lead dog having his voice box broken so he sounds high pitched, as well as the incredible sight of dogs flying mini airplanes being too funny for words. How this film can be so emotionally real and yet be so funny and over the top is beyond me, and a testament to Pete Docter’s skills as a director. I cannot fully explain why this movie is so perfect, it just is, and well worth watching again and again.

3. Pan’s Labyrinth

Guillermo del Toro is my favourite director, and I’m beyond happy that he won the Best Director Oscar this year for The Shape of Water. Pan’s Labyrinth however remains his absolute best film and one of the most complex, unique and imaginative films I have ever seen. There is so much packed into every frame and every detail that it’s impossible to dissect the genius at work here, but what we have is a masterpiece of film making that can be seen as a metaphor for war, a coming of age story, a dark fairy tale or all three. This is a film that makes you think long after it’s finished and I have cherished it since I first saw it. This is a dark and uncompromising film, yet it is also about hope and the power of stories and imagination. In one of the most visually stunning films I’ve ever seen, a brilliant story of corrupted youth and the horrors of war emerges.

The backdrop of the film is Franco’s Spain, after the Civil War is over and the regime has a tight grip over the country. As the monstrous Vidal tries to continue his father’s legacy through his unborn child, Ofelia accepts her quest to ascend to the fairy kingdom. Or does she? Are her fantastical quests just an escape mechanism from the horrors of her stepfather or are they real? I think so, as I believe this is the same fairy kingdom from Hellboy 2. The brilliance of this film is subtext told through the story, as the images and story being told in the fantasy world are an eerie parallel to the world of Vidal. The Pale Man represents Ofelia’s (and del Toro’s) fear and mistrust of authority, the giant frog symbolises Franco sucking the life out of Spain and also serves as a metaphor for Ofelia’s brother killing her mother. The film is about choice and consequences, and also about the corruption of childhood through war. Twisting genre conventions, del Toro presents a fairy tale full of death and misery, and makes the true monster the ever looming shadow of Franco and Captain Vidal instead of the various fantastical creatures. Speaking of those, this movie gained a very worthy Oscar for Best Makeup, and Doug Jones owns the amazing makeup and prosthetic needed for the Pale Man and the Faun. The visuals and effects enhance the story being told, which is beautifully conveyed through the duality of the rebels and Ofelia, both desperate to live up to an ideal that may never come about. There is so much to dissect in this film and I’ve barely covered the vast number of themes and motifs throughout. Just watch it for yourself and revel in the experience.

2. Serenity

Once upon a time an awesome show called Firefly was on TV. Then it got cancelled after 14 episodes due to low ratings. Well, maybe it got low ratings because Fox wouldn’t air the episodes on schedule, mixed up the episode order, didn’t air three episodes and showed the pilot last. Great job guys. The show’s insanely loyal and dedicated fanbase reacted with such outrage at the cancellation that in 2005, Joss Whedon managed to get a feature length film made under Universal, with the hopes that a new movie franchise would form. That didn’t happen either, but that doesn’t stop Serenity from being an amazing film that serves as a brilliant continuation of Firefly as well as being a great standalone film in its own right. I cannot think of a film that speaks to me more personally, and it serves as one of the most satisfying film experiences of all time.

Wanna know who my favourite movie character is? It’s Malcolm Reynolds, the awesome captain of Serenity. He is such a fleshed out and interesting character to see on screen. He has his own set of morals that only he truly understands, and his dedication to taking out the corrupt Alliance sees him take actions that frighten his own crew. Incidentally, if you want to know how to write for a large ensemble, watch Firefly and Serenity. It’s no wonder Joss Whedon was perfect for the Avengers as the crew of Serenity are some of the most interesting and fun gang of characters in fiction. This film takes each character and does something new and interesting with each of them, allowing the team dynamics to play out perfectly. Character development and motivations are done subtly and told visually and through the magnificent dialogue, making this a textbook example of character writing. The film picks up from where the series left off and sees the Alliance track the crew down in an attempt to recapture River Tam (sorry River Song, you’re only the second coolest River) and hide their dark secrets. Helping the Alliance is the Operative, played brilliantly by a pre-fame Chiwetel Ejiofor. One of the coolest film villains, he oozes style and his parallels with Mal are fascinating. There’s the hero who doesn’t see himself as a good guy, and a villain who knows he’s evil. The film is also about overcoming impossible odds and being true to your beliefs. Mal believes in a free world without the controlling Alliance, and he will stick to that belief until the bitter end. Throw in amazing action, dynamic direction and we have the best continuation of a TV show of all time. Watch Firefly, then watch this film. You will not be disappointed.

My favourite film of all time is admittedly a bit of a cheat, but I don’t anyone will object to my choice. Before all that though, I’ll just reveal a few of my other favourites that almost made the cut-

The Nightmare Before Christmas

The Thing

Inception

Logan

Brazil

Charlie and the Chocolate Factory

Pacific Rim

V For Vendetta

Skyfall

Princess Mononoke

Bender’s Big Score (made for TV Futurama film, but it still counts)

And my favourite film of all time is…

  1. The Lord of the Rings- all of them

Told ya this was a cheat. Ever since I finished Return of the King I have considered Peter Jackson’s trilogy to be the best cinematic experience of all time. The behind the scenes of the films are amazing in their own right- Peter Jackson took an “unfilmable” trilogy of highly acclaimed literature and adapted them over three years and an unprecedented level of detail, care and craft that was the most innovative film endeavour ever and managed to transform his country into the number one filming location and proved that filmmakers don’t have to go to Hollywood to be successful. From a director of low budget New Zealand horror films to a director whose smashed the Oscars, Peter Jackson is one of the biggest inspirations to me. The fact that the films are amazing and perfect are of course essential to the reasons why I love them. These aren’t just flashy images on screen, these are epic stories of power, war, corruption, friendship and the triumph of good vs evil. I was tempted to just stick Return of the King here, but that would be a disservice to the other two. The three films are connected, and whilst they are all technically seperate, I cannot treat them individually.

The journey taken in this trilogy is absolutely wonderful. From the Shire to Mount Doom back to the Shire again, every action taken advances the characters and their journeys. My favourite characters are Sam, Gollum and Aragorn. Sam is the trilogy’s human soul, loyal to the end and never letting Frodo down even when the Ring corrupts his friend. He isn’t a fighter or a wizard, he’s just an ordinary person who risks all to save Middle-Earth. In contrast, Aragorn is a king afraid of his destiny, only to embrace it at the end and be the hero he always needed to be. Gollum is a masterpiece of character writing, and how Andy Serkis did not get nominated for Best Supporting Actor I do not know. Gollum is the series’s example of the Ring’s corruption, yet you sympathise with him as it’s clear Sauron’s influence is to blame, not Smeagol. Every character gets an arc and many are improved upon from the books. As far as I can tell, Theoden, Eowyn, Legolas and Gimli did not have much development in the books but in the films they are given satisfying arcs which add to the richness of the films. The majestic music by Howard Shore and the amazing special effects by Weta Workshop are just the icing on the cake for this cinematic masterpiece. Whilst the characters are amazing, it’s the greater themes at play that really make this trilogy stand out, such as the messages of machinery vs man, the loss of hope brought about by war and the overcoming of darkness. The ending of The Two Towers really puts the whole trilogy into perspective, summarising it as a battle of good and how it will always triumph over evil.

It’s scenes like that which made me appreciate the more human and profound approach Jackson took to the story. There is so much to analyse about these films and there’s lots out there and explains why these films succeed where no others do. There’s visual storytelling as the Ring represents a very physical and mental challenge and serves as the ultimate personification of darkness, brilliant dialogue such as Gandalf and Pippin’s conversation in Minas Tirith and everything just clicks together to create cinema gold. The directing is amazing, the cinematography is stunning and New Zealand! Just… New Zealand. Some of the best location work ever seen on film. The action sequences are spellbinding, especially the Battle of the Pelennor Fields. The story is captivating and emotional, eliciting every emotion from awe to hilarity, victory to sadness and ultimately satisfaction. The films are such epics that it’s amazing that there is still time for intimacy and quiet. The trilogy is about ordinary people doing extraordinary things, as it is not the kings or wizards that ultimately save the day, it’s just a couple of hobbits. It’s an inspiring message for everyone. From the opening monologue to the closing door, the Lord of the Rings is actual perfection, and my favourite film of all time.

Well, that took a while. I probably will update this again down the line but that probably won’t be for a while. For now, these ten (OK, twelve) films stand as my personal favourites and are definitely worth checking out if you haven’t already.

Avengers: Infinity War review- The most ambitious film since Return of the King

After 10 years, 18 films, 15 directors and countless heroes, Avengers: Infinity War is finally here. The amount of hype for this film is huge, as we have the culmination of the most ambitious film endeavour since the Lord of the Rings, if not even more ambitious. Does it live up to the hype? In short, with as little spoilers as possible, no.

Oh who am I kidding, yes, yes it does.

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Ready Player One review- Spielberg’s still got it

Of all the filmmakers working today, Steven Spielberg has been fortunate enough to stay relevant and beloved. In a career of over forty years, he has rarely put a foot wrong and still makes films to this day, tackling every genre imaginable and captivating the minds of millions. Everyone has their favourite Spielberg (mine is and will always be Jurassic Park) and his rare ability to effortlessly switch from serious drama to fun spectacle is what makes him a cinema giant. His recent films have mostly been more focused on slower, more mature historical dramas, which is why his return to big budget, spectacle driven film making has been so anticipated. I could not wait for this film to come out, although I was slightly worried that it would just become “Nostalgia- The Movie”. Well, Spielberg made sure it was a lot more than that.

In 2045 (tune in when that year actually happens to see if we have the OASIS. It’s 2018 and we don’t have Jaws 19, replicants or crazy Mexican scientists who look like Patrick Troughton) the world has advanced to the stage where virtual reality is the norm, and the OASIS is where the world’s population to escape the grim real world. The OASIS was built by James Halliday who built the simulation around his childhood nostalgia. After his death, his avatar reveals to the gamers that he has hidden three keys in the OASIS that will lead one gamer to unlock an Easter Egg that will allow them control over the OASIS. Parzival, real name Wade Watts, wants the Egg desperately, and his quest to find it leads him to come into conflict with the sinister Nolan Sorrento and IOU, who want to commercially exploit the OASIS.

First thing first- it’s clear what film will win Best Visual Effects at next year’s Oscars. This film has highly innovative and amazing visual effects that show how Spielberg is the master of innovation. Not content with jump starting the blockbuster and revolutionising CGI, he and his team of effects artists create a fully realised world made entirely of computers that both looks real and does not suffer from uncanny valley like motion capture. The OASIS looks amazing and I have a hunch this is the start of a revolution of technology in film. It’s worth watching this film on the big screen.

Like Jurassic Park before it, this is a very loose adaptation of the book. It’s not completely different, rather it takes the plot and characters and changes them to fit the film format. The references are toned down a lot, which is a good thing. Here, the references are more subtle. There’s the Delorean (I only watched Back to the Future this year so I actually get the reference), DC heroes, Godzilla, even a sneaky Jurassic Park reference (nice one Spielberg) and a great Serenity appearance that I missed but got told was there. My favourite reference is the Holy Hand Grenade from Monty Python and The Holy Grail. I won’t spoil anymore, but it’s a great reference nonetheless.

Despite all the references, the film is still strong even if you don’t understand all of it. The action scenes and dynamic direction make the film hugely entertaining, and despite the characters not being too complex, they serve the functions of the plot well. The third act gets really good and emotional, as Spielberg effortlessly turns the film into something deeper than it appears. The film is also surprisingly funny, especially iRoK, a snarky weapons expert who helps the villains but clearly cannot be bothered with it. The plot is different from the book but very clever, and I loved seeing the characters work everything out through clever investigation. Even though I’ve read the book, I was left guessing as to what was going on and there were several great twists that I didn’t see coming. The film builds and builds to an epic and bonkers final fight. I didn’t get all the references, but my screening did.

There are many interesting questions raised about whether or not nostalgia is good and how people can be corrupted by it. Sorrento is a great villain who isn’t just pure evil- despite his actions you understand who he is as a person. This is juxtaposed with Halliday, who is given a lot of depth for a character who dies before the film begins. I like the central conflict between Parzival and Artemis, as one treats the quest as a game whilst the other is more serious about it. My favourite character in the film is Ogden Morro, played by one of my favourite actors, Simon Pegg. He’s not in the film too much, but his scenes have big impact and are very entertaining.

In conclusion, if you were unsure whether or not to check this film out, I recommend it. Even if you don’t understand all the references or in-jokes the film is entertaining enough in its own right. Spielberg still has his touch and I hope the success of this film will lead him to more innovative blockbusters like this (though not Indiana Jones 5. Please not). If sci fi isn’t your thing I don’t think this will change your mind, but if you are interested in checking this out because of Spielberg then it’s worth it. I can’t wait to see what he does next.

Pacific Rim retrospective: Diving into Guillermo del Toro’s original film

In three days time, one of my most anticipated films of the year comes out. Pacific Rim: Uprising is a long time coming, as the first film is one of the few recent original films that deserves a franchise. To celebrate the second film, let’s look back at the original 2013 film, already gone down as a cult classic and an action masterpiece, all brought to life by the masterful skills by Academy-award winning director Guillermo del Toro (it feels so satisfying saying that. Never before have I agreed with the Oscars so much).

The world of this film is expertly constructed. In the opening ten minutes, the audience is told everything they need to know about the backstory of the Kaiju and the Jaegar, with a fully detailed future established before the first action sequence. Every frame is gorgeous and packed with immense detail- as soon as the movie is over you instantly want to return to it, which thankfully we will. What makes this film stand out amongst the crowd of CGI blockbusters is the fact that it feels real and tangible. The Jaegars look real, the Kaiju look real, the world presented is worn down and believable. It’s all down to del Toro’s magnificent eye for production design and attention to detail throughout. His use of colours and practical set design complement the amazing visual effects perfectly. How this did not win at least Best Visual Effects, I do not know. Every creature in this film was designed from the ground up, and it shows.

But it’s not just the visuals and direction that make this film work. The characters are also great. They aren’t the most complex or fleshed out, but it’s the simple characterisation that works. Raleigh Beckett is a character afraid of living up to his brother’s name and afraid of failing. Throughout the film he is told he must help Stacker Pentecost fight the Kaiju, but Raleigh is frequently hiding from doing the right thing.  Through his connection with Mako and the realisation that they must work together, he decides to lead the charge against the Kaiju.  It’s a simple and satisfying arc. Mako Mori is one of del Toro’s best female characters, being fully independent and fleshed out. Her arc is brilliant, as she learns how to use her past as a motivation to keep fighting. Rounding off the best characters is del Toro regular Ron Perlman stealing the show as Hannibal Chau and Idris Elba as Stacker Pentecost, being plain awesome every second he is one screen.

The themes in this film are quite inspiring and meaningful in today’s world. The multi-national characters present a world that has overcome differences to fight a greater threat and it’s a great message about how the human race can work together. Of course, with this being a del Toro film, expect lots of rain, contrasting colours, thing in jars, dissection, water and common themes. Like other del Toro protagonists, Raleigh refuses to be shaped by what society and circumstance dictates them to be and is able to forge his own path through his personal choices. Of course, this is just subtext, and the film is mainly focused on the spectacle of watching giant robots punch giant monsters in the face. The action is incredible- yes, it’s mostly CGI, but it’s done so well and so engaging, thanks to the amazing music, great buildup and stunning landscapes. The gigantic Hong Kong battle works so well because the film already established the characters and the combination of location filming, real sets and meticulous computer effects are mind blowing. I do not know how this battle was made to look so good, but I’m certainly very impressed.

The script by del Toro and Travis Beacham is clever and witty. I love how the film gives everybody subplots and actions that move the story along and expand the world. Newt’s trip into the neon drenched streets of Hong Kong is so detailed and Hannibal Chau is so fun I could watch an entire film focused on him. Everyone in this film has a purpose, right down to the other Jaegar pilots. The film is so fun to watch and never takes itself seriously. I’ve heard people complain how this isn’t like del Toro’s other films and how it lacks the depth of his Spanish language films, and I agree. But this isn’t trying to be Pan’s Labyrinth, this is trying to be a love letter to giant monsters and is del Toro’s way of recovering from the turbulent production of the Hobbit and the failure of At the Mountains of Madness getting produced. He would return to his usual style after this, but this stands as his most fun and accessible film, which anyone who has an inherent passion for giant monsters and giant monsters (which is nearly everyone, I guarantee) can enjoy. As I’ve mentioned, this film still has the master of monsters’s regular style, themes and auteur signature present. It may be simple and is at the end of the day a summer blockbuster, but it’s the vivid world, great style and underlying messages that make this stand out amongst the crowd.

So, am I looking forward to the sequel? Of course I am. I have faith that Steven S DeKnight can give us a satisfying sequel. It’s always good to see John Boyega in a leading role and based on the trailers it looks like del Toro’s unique visual style has not been completely lost. I’ve decided to not have the long gap between the first and second film put me off (after all, there was seven years between Alien and Aliens) and instead focus on how the second could improve on the first. It’s great to see an original franchise get recognised, and del Toro’s producer credit will certainly get people watching. How can you turn down an award winner? And no, I will never not be satisfied with saying that. Here’s hoping Uprising can live up to the first.

What are Black Panther’s Oscar chances?

Black Panther is a phenomenon. This isn’t just a superhero film, this is a cultural statement, a message to the world, and easily one of Marvel’s best and most successful films. In just over a month, Infinity War comes out, and it’s a testament to Black Panther that the epic culmination of ten years that involves the Avengers battling Thanos is the one that must be better than the King of Wakanda. Ten years ago, Marvel probably wouldn’t dream of even getting nominated, but Black Panther’s unprecedented success has many people wondering if this is the year the barriers are truly shattered and Black Panther gets recognition from the Oscars. I’m not just talking technical, I’m talking Best Picture here. Could it happen? It’s actually more likely than usual. Let’s look at the case for-

What’s different this time?

The Academy has changed. When Christopher Nolan’s 2008 masterpiece The Dark Knight failed to get a Best Picture nomination despite being hailed as one of the best films of the 21st century, the Academy Awards expanded the Best Picture slot to ten. This has helped films such as District 9, Up, Toy Story 3, Mad Max Fury Road, The Martian, Arrival and Get Out to get nominated (all very worthy nominations for great films, may I add.) Whilst there were only nine films this year up for nominations (seriously, couldn’t they have nominated Logan or Blade Runner 2049?) the field is open for a superhero film. So why wasn’t The Winter Soldier, another acclaimed Marvel film, or Wonder Woman, another cultural milestone, or Logan, held up as the best superhero film since 2008, up for grabs? Let’s take a look at those in order-

Fellow MCU film The Winter Soldier has similarities to Black Panther- a more serious tone, relevant themes and a great and engaging plot. However, the issue lies with the franchising. In order to appreciate The Winter Soldier, you have to be aware of Captain America as a character and his arc in both his first film and The Avengers. The film has many supporting characters from the MCU film such as Nick Fury and Black Widow and the plot of the film revolves around events that tie into the wider universe. The film is unquestionably a franchise film, and the Academy don’t tend to go for sequels anyway. Black Panther on the other hand is a standalone film that requires no knowledge of the other Marvel films. Wakanda is a detailed world in and of itself and the film more than holds up as a singular superhero film. This is a key reason why I think it’ll be nominated.

OK, so what about the crown jewel of non-Nolan DC films? Why do I think Black Panther will get nominated over Wonder Woman? Make no mistake, Wonder Woman was a phenomenon as well and has just as much to say as Black Panther does about society both then and now, however there are two factors that Black Panther has over Wonder Woman. Firstly, as much as Wonder Woman is acclaimed, nearly everyone, myself included, agree that the third act where Ares reveals himself and the explosions begin is weaker than the outstanding first two acts. It’s not bad, but kinda cliche, especially when he starts to turn himself into a CGI demon. In contrast, Erik Killmonger is held up as the best part of Black Panther, and the third act does not stumble in the way Wonder Woman’s does. Another factor is the release of Justice League, which had Wonder Woman as a central character. I enjoyed the film, but it was hated by critics and failed at the box office, all the while Academy voters were preparing themselves to vote. Could the failure of Justice League have contributed to Wonder Woman’s Oscar snubs? More than likely. Infinity War  is set to smash all box office records and will almost certainly receive acclaim, and even if Ant-Man 2 isn’t good (which I doubt it will be), that won’t affect Black Panther’s Oscar chances. I think fate is on Wakanda’s side.

This brings us to Logan, the only superhero film to ever be nominated for a screenplay award and one of this year’s major snubs. Yes, a writing award is great but the acting deserved recognition, especially from Patrick Stewart. With that aside, people have been saying that Logan’s inability to get a Best Picture award means Black Panther cannot get one. It’s true that Logan’s wildly different tone and themes from most superhero films made it a prime award nominee, and Black Panther is more in line with the Marvel films and is ostensibly a superhero film, whereas Logan is more of a character driven western, but Black Panther has one thing Logan doesn’t- it has the cultural impact. Logan was widely praised and adored but Black Panther is a phenomenon and has taken the world by storm. It is a hugely important films for many reasons and has something to say about the current state of world politics. It has outgrossed most Best Picture winners combined and has made a massive cultural and social impact. What do The Wizard of Oz, Jaws, Star Wars, Raiders of the Lost Ark, ET and Return of the King have in common aside from being blockbusters? They were all massively successful films that became events, which were rewarded with Best Picture nominations. Do the Academy really want to miss out on what is likely to be the biggest cultural event of the year that is causing Infinity War to look small by comparison? It’ll certainly boost the viewing figures.

Hey, if this can be nominated for an Oscar over LEGO BATMAN (!), then anything can.

There’s precedent for films like Black Panther being nominated. It’s obviously political so there’s that going for it (although I would like to think it got nominated for its own merits and not just to score points) and has a lot to say about the world currently. The release date isn’t really an issue, as Oscar-bait is slowly dying and more interesting films are taking over. Just this year Get Out, a satirical horror film about race relations released in February won Best Original Screenplay and was nominated for three more including Best Picture. The Best Picture winner is a love story between a fish man and a mute woman and is ostensibly a fantasy film directed by Guillermo del Toro, who specialises in speculative fiction. There is a high chance that Black Panther can not only be nominated, but win. It all depends on what else comes out though, although I guarantee that none will have the cultural impact of Black Panther. Ryan Coogler and Kevin Feige have a winner here- and it’s here to stay. Logan broke the screenplay barrier, now it’s time for the King of Wakanda to take one for the team and ride the Oscar glory.

Black panther review- You’ve never seen a superhero film like this

It’s only February, but Marvel have wasted no time in giving the world the first superhero film of the year, and it’s set a huge bar for the rest of the year. Considering Infinity War is next, you’d think Black Panther would mainly act as an excuse to set it up, but I was surprised at just how different and standalone this film was in relation to the rest of the Marvel Cinematic Universe. Yes, the awesome intro is there, Stan Lee has his usual hilarious one-liner and there are after credits scenes but for the most part Black Panther is the most unique and out there Marvel film. You’ll never see a blockbuster or superhero film like it. This movie serves as a massive statement to critics who complain about all superhero films being the same- I dare the superhero cynics to find another mainstream blockbuster film that features a mainly black cast which serves as a celebration of African culture whilst also dealing with Shakespearean ideals about loyalty, disillusionment, identity and colonialism, tackles modern day issues such as immigration and inequality, has an utterly unique, Oscar-worthy visual design and world building that presents a fully detailed country with its own laws and customs which also happens to be plain fun (Black Panther 2 won’t count). Until there’s another one, I’m going to assume those critics have no idea what they’re talking about.

 

As the film’s been out in most countries for about a week and it’s been released in America now, I will be spoiling the film, although not massively.

Continuing on from his awesome introduction and arc in Civil War, T’Challa/Black Panther/The coolest character in the MCU returns home to Wakanda to be crowed king. Things are not so easy though, as he soon gets involved in a global plot which revolves around vibranium smuggling, the return of Ulysses Klaw and a threat to the throne of Wakanda. Already the film sets itself apart from the rest of Marvel by having a relativity contained plot- after the awesome action scene in South Korea (Marvel really loves filming there) the rest of the film is set entirely in Wakanda and has very personal stakes. But the uniqueness doesn’t end there, as this is a very thematic and dramatic film a world away from the buddy comedy of Thor: Ragnarok. Through the different tribes of Wakanda, incredibly topical issues are raised that are very relevant for today’s world. T’Challa believes in Wakanda’s isolation as he does not want the resources of his country being taken away by foreign powers like the rest of Africa, but at the same time he rules the most technologically advanced nation on the planet and believes this to be the right way, leaving the rest of the world behind to face their own problems. W’Kabi fears that Wakanda’s involvement in world affairs will bring unneeded immigration and integration, which risks Wakanda being just another country and Killmonger believes that Wakanda should be the leaders of the world and that it is justified, seeing how Western cultures took over Africa during the 19th century and how black people have been treated even now. His motivations make absolute sense. I was very surprised as to how political this movie was, but it wasn’t done in a hamfisted or preachy manner. It enhanced the film and made it a lot more complex than the usual blockbuster.

Speaking of Killmonger, he’s probably the best villain Marvel has ever done. Like Loki, he is a very complex and interesting character who opposes the hero in a far more interesting manner than just being evil. His motivations make total sense, his actions are justified and he gets a complete character arc which is immensely satisfying to watch. There’s also the return of Ulyssess Klaw, who is great fun to watch. The film’s villains are all great and Marvel have definitely improved on this front. This bodes well for Thanos. A great villain is nothing without a great hero, but fortunately Black Panther is an awesome character. He commands the screen every second he is on screen and in his solo film he is perhaps even more well thought out than his amazing introduction in Civil War. He is a hero who doesn’t see himself as one and definetly doesn’t see himself as a superhero, yet his actions and character are all heroic. He’s become one of my favourite Marvel heroes as he isn’t afraid to make mistakes and even do things that antagonise others, as long as it’s in the service of his goals.

The world of Wakanda and the highly unique style this film has is simply amazing. The film combines futuristic technology with African culture, and it’s so interesting to watch. Marvel have successfully made politics interesting- albeit the politics of a fictional nation which seems a lot cooler and a lot more well run than most countries today. That’s kind of the point though, as fear of expanding and helping others is one of the main conflicts of the film. For all the wider themes at play, this is still a comic book film, and the action is amazing. The fighting is very intense and quite different from the usual Marvel action and it reminded me in places of a 12-rated Logan. The final battle is also awesome and the film is never boring, always offering up something new and interesting. The links to the wider MCU are very thin, with only Klaw, minor references to Civil War and a hilarious Martin Freeman as Everett Ross offering wider links to the universe. I appreciate this though, as being bogged down in references would have alienated casual audiences. The standalone nature gives Ryan Coogler to tell his own story and put a unique stamp on Marvel, which he has done immensely well. As much as I am looking forward to Infinity War, I am desperate for a Black Panther sequel to return to this unique world.

In conclusion, I highly reccomend Black Panther, even if you are not a huge superhero fan. It’s different enough to stand on its own and it has a lot to say about race, diversity and building relationships, very relevant in today’s world. It’s one of Marvel’s best films and I wouldn’t be surprised if there’s at least a bit of recognition from next year’s Oscars for this film. Next up, it’s a film ten years in the making- Infinity War. April can’t come soon enough.

5 hopes for Chris Chibnall’s era

It’s been over a month since Steven Moffat ended his tenure as showrunner of Doctor Who. Whilst I would do a retrospective, I feel like I’ve discussed his era too much in the past. For now, let’s look to the future and what Chris Chibnall has in store for Whovians. Outside of casting we don’t know too much about his era, which is great. I do have faith in him to deliver a strong run but here’s a list of things I hope he follows through on. I did a list before the Series 9 finale about wishes for Series 10, which were mostly fulfilled (two new interesting companions, great returning monsters and cool new ones and a better balance of story and character). My other two weren’t really followed through on (a consistent costume and more alien planets) so they are on this list as honourable mentions. I do like the Thirteenth Doctor’s costume so far, but I need to see it in action and let it sink in.

So, let’s dive into what I would like to see in Chris Chibnall’s era-

  • A new, original arc

I cannot stress this enough, but a series without the Daleks, Cybermen or the Master would be brilliant. I don’t think the latter two are appearing but the Daleks almost certainly will, which would be fine as long as they aren’t the story arc.

Remember (ba-dum) how effective the Silence were? We had a brand new, original threat for basically two seasons. You could argue the Series 6 arc teetered out of control and that the Silence were wasted but the fact remains that Steven Moffat created a fascinating new villain along with a highly engaging arc. I hope Chris Chibnall does the same and creates new threats, supporting characters, worlds and arcs.

Without trying to sound like I’m bias, the RTD era really had this under control. We had Ood and Weeping Angels, Torchwood and Sarah Jane, three trips to New Earth and well thought out, interesting arcs. Moffat had this in a way with Matt Smith (Silence and Angels, River and the Paternoster Gang and the Silence Will Fall arc) but Peter Capaldi’s run suffered from a lack of originality. Am I a good man? That was basically Eleven’s arc in Series 6. The companion and the Doctor are in a dangerous partnership? Explored in the God Complex. It’s why I loved Series 10, as rehabilitating the Master had never been done before. But there can still be more.

Have a cosmic war. Have a chase across time and space by bounty hunters. Have the Great Old Ones return, ready to wreck havoc across the universe. Have Rassilon plot an elaborate revenge against the Doctor. I would love Chris Chibnall to just go nuts with his story arcs and ideas. Don’t just rely on old enemies or retread old ideas, do something truly captivating and original. The whole universe can be explored, why are the arcs so Earth focused and why is everything something from the Doctor’s past? Move away from sequels to Classic Who or yet more Time War angst and do something new.

  • Good villains

Without looking them up, how many Twelfth Doctor villains can you name? As in proper, compelling, original villains (Missy doesn’t count). My guess is that you can’t name many, as most of them weren’t really villains and the ones that were weren’t very good. The Monks were promising but ended up being just the Silence, and there really isn’t that much from Twelve’s rogue’s gallery. There’s the Boneless yes, but what else?

William Hartnell battled cosmic entities and rogue Time Lords. Tom Baker encountered the last of the Osrians, the Guardians of Time and more. Sylvester McCoy fought Fenric, a being from beyond comprehension and David Tennant battled the Devil. My point is that Peter Capaldi’s rogues were a bit less impressive. Oh no, lion people. Oh no, sleep dust monsters. Watch out for the weird robot owl thing and you better hide from the terrifying King Hydroflax!

He looks cool, but try thinking of a single line the Fisher King said. And I like this story.

My wish for Thirteen is that she gets some amazing villains. They don’t have to be sympathetic or misunderstood, you can just make them evil. Is there a single redeeming quality about the Mara, or the Family of Blood? No, they’re just evil. It would help if they had some depth but sometimes they can be just evil. As long as they’re interesting, the audience will care. It says a lot when the best villain last series was a CGI wolf with tentacles.

  • Have fun

Let’s not beat around the bush here, Doctor Who is at its best when it’s dark. There’s a reason Phillip Hinchfliffe’s era is beloved. However, it’s important to have fun and embrace the camp. Having the Doctor be light hearted, caring and zany is hugely important, and unfortunately Twelve was none of that, at first anyway. The show turned utterly serious and dour with plot points like the Moon being an egg and flying Cybermen being treated incredibly seriously without any acknowledgement to the stupidness of the concepts (and the show itself is stupid. It’s about a shape shifting alien who flies in a box through time and space. But that’s what makes it great). Tom Baker had dark stories, but he was still a buffon who tripped over his scarf. Jon Pertwee was a snarky know-it-all who loved driving and David Tennant had some of the most mature storylines in the show’s history,  yet he still randomly referenced pop culture, had a positive attitude and made jokes, all whilst managing to maintain the darkness of the storylines.

Sometimes it’s good to go dark. Inferno, Waters of Mars, Curse of Fenric, The Doctor Falls- all very dark. But don’t have the basic outlook of the show be dark. Why did I like Robot of Sherwood and The Return of Doctor Mysterio? Because they were fun. Why did the fanbase dislike them? They were different from the typical Twelfth Doctor episode. Twelve was out of character for those as he was acting the way any other Doctor would act in those situations- having fun. My advice for Chris Chibnall is- lighten it up when it’s appropriate. When there are dark storylines, have them be dark. When there are light hearted or goofy scenarios, have fun. This is why having a lighter, nicer Doctor helps.

  • Take risks and don’t spoil things early

I’m going to go on a slight tangent and bring up The Last Jedi. Nothing about that film is what you’d expect. Luke Skywalker is a jaded old man and Snoke, the supposed big bad of the new trilogy, is killed off. Think about how risky that is, and how refreshing it was. Iron Man 3 does something similar with the Mandarin, turning the character from a generic bad guy to a metaphor about modern media and manipulation.

My point is, Chibnall really needs to think outside the box. Don’t give the audience what they’re expecting and subvert expectations. Of course it was going to be Missy in the Vault. But what if it wasn’t? Of course the Doctor wasn’t really working for the Monks. But what if he was? The funny thing about that last example is that Skulduggery Pleasant did a similar plot point in Resurrection, released the same week as Lie of the Land (having the main character turn evil) but actually stuck to it. That’s a risk.

The show has taken risks in the past, such as Heaven Sent, but I want more. Truly challenge the audience and make them think about the show they’re watching. What if the mysterious box in the TARDIS isn’t the arc, but the companion we’ve been following throughout the series has been working for the bad guys the whole time? What if the Earth is invaded by aliens in the most painfully generic plot imaginable, only for the Doctor to realise that they’re not on Earth and are actually on a game show? That’s the kind of risk I’m talking about. Extremis is a great example of a risk that worked.

There have been episodes in the Capaldi era that took risks, but the show as a whole needs to do more risky things, especially in regards to the story arcs. Do something that will shatter expectations and make the audience react. Don’t fear backlash, just go for it. Chibnall also needs to make sure the risks pay off- Series 8 had a dark and depressed Doctor but it didn’t really work as nothing was being subverted- he was just angry and miserable. How about a pure historical? Or a non-linear episode? Or (dare I say it?) a musical episode? As long as they’re good then the fans won’t mind.

How about a pure historical musical?

Never mind.

Also, don’t spoil things. How much more awesome would John Simm’s reveal in World Enough and Time have been if it hadn’t been spoilt? The Internet would have gone nuts. I know it’s harder to keep secrets know but the BBC need to have some degree of control over spoilers.

  • A consistent time slot

What time is Doctor Who on THIS WEEK?

This is less about the show itself and more about scheduling. Back in the day, David Tennant’s Doctor would be on TV at around 7:00. OK, so I stayed up slightly later on Saturday. But with Peter Capaldi, I didn’t know what time the show was on as it was never consistent. Sometimes it was 7, sometimes it was 8:35. You’d think with a Spring start Series 10 would not fall victim to this, but as early as Smile the schedule was being pushed around for… football. I respect that people like watching football, but if Doctor Who is on at a certain time, I want it to be on at that time and not have to wait to see if the episode will be pushed back a week just because people can’t kick a ball in time. Seriously, is there not a separate channel for sports? That would be the only hiccup you’d think, but no, it happened again for Pyramid at the End of the World and then the show was aired even earlier to accommodate a new BBC show. Hey Beeb, maybe it’s not a good idea to start a new show when your flagship sci-fi show is currently airing.

Little things like it airing five minutes before or later than last week really bug me. Is it so hard to just have a slot for Doctor Who? It’s managed with the other shows. Even Peter Capaldi has spoken out about this, and it’s believe to be one of the reasons he left, despite initially stating he was going to do more than three seasons. With Series 11 not airing until autumn, I’m worried that the same thing will happen with Series 8 and 9- instead of putting the show in that magical slot known as “before Strictly Come Dancing”, the Beeb are just going to put it afterwards and air it depending on how long Strictly lasts. It got even worse in Series 9 when the BBC chose not to air the show before the Rugby World Cup, rather letting the show run through it. Great move guys, maybe this is why the viewing figures have tanked.

If I was managing the BBC, I would air the show at 6:00-6:50 every Saturday. This way, the whole family can eat dinner whilst watching (which was the point of airing the show at around that time anyway) and there won’t be any conflicts. It’ll be autumn so it’ll be dark so any scary episodes will be appropriate and the show will not air too early or too late. I really hope this is sorted out and I hope Chris Chibnall actually has a say in this as he has a lot riding on this series (if the viewing figures are low, the BBC will just assume it’s because of Jodie Whittaker being the first female Doctor). I know when the show is on every week because I watch every week and make sure to check when it’s on but the general public, who drop in and out, will not be as dedicated as me. The show needs a proper time slot.

So, those are five points I hope Chris Chibnall expands on in his era. Have some original ideas, some great villains, have fun but don’t forget to take risks, don’t let anything be spoilt in advance and don’t let the show air inconsistently. Let’s wait and see.