Tagged: wrong

JOHN CARTER TAKES ON THE GODS OF HOLLYWOOD

  • News
  • December 14, 2012

Michael D. Sellers’ new book, John Carter and the Gods of Hollywood, takes a look at the story that brought John Carter of Mars to the big screen.

About John Carter and the Gods of Hollywood:

It took 100 years to bring Edgar Rice Burroughs’ John Carter of Mars to the big screen. It took Disney Studios just ten days to declare the film a flop and lock it away in the Disney vaults. How did this project, despite its quarter-billion dollar budget, the brilliance of director Andrew Stanton, and the creative talents of legendary Pixar Studios, become a calamity of historic proportions? Michael Sellers, a filmmaker and Hollywood insider himself, saw the disaster approaching and fought to save the project – but without success. In John Carter and the Gods of Hollywood, Sellers details every blunder and betrayal that led to the doom of the motion picture – and that left countless Hollywood careers in the wreckage. JOHN CARTER AND THE GODS OF HOLLYWOOD examines every aspect of Andrew Stanton’s adaptation and Disney’s marketing campaign and seeks to answer the question: What went wrong? it includes a history of Hollywood’s 100 year effort to bring the film to the screen, and examines the global fan movement spawned by the film.

John Carter and the Gods of Hollywood is now available at Amazon.

A Doctor a Day – “Father’s Day”

  • News
  • December 11, 2012
Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode, The Snowmen.

Rose decides to do something very emotional and foolish. The results of her actions are dour indeed, and all because she chose to have a…

FATHER’S DAY
by Paul Cornell
Directed by Joe Ahearne

“An ordinary man – that’s the most important thing in Creation”

Seized by memories, Rose asks The Doctor to take her back before her father Pete died.  He died in a road accident when Rose was only a baby, and Jackie has gone to great lengths to tell her daughter what a fine man he was.  The Doctor agrees – they attend Pete and Jackie’s wedding, where he gets her name wrong in the vows.  Rose, thinking he’d be “taller”, is already starting to suspect his story may have grown in the telling.  Asking to visit the moment Pete died, twice, she makes a horrible choice – she saves her father from being hit by the car.

She’s overjoyed, but The Doctor is livid.  He tries desperately to get her to understand the enormity of what she’s done, and she refuses.  He storms off, but when he realizes what’s happening to the world, he races to find her.  She and Pete have headed to their friend’s wedding, and mysteriously, a number of guests are missing.  Time is starting to go wrong – songs are playing on the radio that haven’t been released yet, and Rose’s phone is picking up a call from Alexander Graham Bell.

Meeting up with Jackie (and a baby Rose) at the church, it’s more apparent that the tales she told her daughter were just that.  Pete’s big plans were just dreams, and he was much more Ralph Kramden than JR Ewing.  And all around them, mysterious creatures are snipping people out of time. This moment is a wound, and the Reapers are here to pick at the scab.  As things get more serious, Pete realizes that he is not meant to be here, and is forced to make a very serious decision to make it right.

Solid acting all around, in a very serious episode, even with the moments of levity.  Pete Tyler is a character who will return in the Tennant run of the series, as part of a long-form plotline that will tie into the season finale.  While he may not have planned it from square one (as moffat appears to do) but Davies was not a stranger to the long plot.

This is the first story of the new series where time travel itself is integral to the plot.  The average Doctor Who story takes place in a single location and time; time travel is little used in the story itself.  Here, we see a number of paradoxes, and how they all affect time itself.  Moffat will do that  great deal more when he takes over the show, and of course in the classic Blink.  Using time travel is very complicated, and requires a lot of explanation to make sure the audience can keep up. The challenge is keeping things entertaining, and Paul does it here expertly.

“I can do anything” – quite a different mindset for this Doctor than for Ten or Eleven.  Ten spent a lot of time talking about how he couldn’t do things, right up until Waters of Mars, when he came to the decision that, being the last Time Lord, he can do anything he damn well pleases, a decision that bites him BUT quick.  Even Eleven comes to his “Time can be re-written” realization, causing him to take massive risks, and only luck having them come out on his side.

One of the most shocking moments of the episode is one of simplest effects in the world, indeed there’s no effect at all.  The Doctor opens the TARDIS and it’s just an empty box.  Well…yeah.  But we’re so used to it NOT being just a box that it feels so wrong.  Wonderful moment.

The costume work in the 80s is positively unsettling. from Pete’s unconstructed jacket with the rolled up sleeves to the mad curly hairdo on Jackie, it’s hilarious.  It’s nice moment of fun against the dramatic story.  And anyone who thinks that Stormageddon, Dark Lord of All is the cutest baby to appear on Doctor Who has forgotten about this episode.  The expressions captured by the director are priceless, and how they’re edited into the proceedings are hilarious.

Rose accuses The Doctor of being jealous, that for once he’s not the most important person in her life.  It’s not the case, but at the end of the day, it’s Pete that saves the day, by doing something that the Doctor couldn’t.  And that only makes Rose love him more.  And that’s a feeling that will carry through that plot thread for some time to come.

PRESTON AND CHILD DIG TWO GRAVES

  • Uncategorized
  • December 11, 2012

Agent Pendergast, the creation of Authors Douglas Preston and Lincoln Child returns in a brand new novel, TWO GRAVES, arriving in bookstores today, December 11.

About Two Graves:
After his wife, Helen, is brazenly abducted before his eyes, Special Agent Pendergast furiously pursues the kidnappers, chasing them across the country and into Mexico. But then, things go terribly, tragically wrong; the kidnappers escape; and a shattered Pendergast retreats to his New York apartment and shuts out the world.

But when a string of bizarre murders erupts across several Manhattan hotels–perpetrated by a boy who seems to have an almost psychic ability to elude capture–NYPD Lieutenant D’Agosta asks his friend Pendergast for help. Reluctant at first, Pendergast soon discovers that the killings are a message from his wife’s kidnappers. But why a message? And what does it mean?

When the kidnappers strike again at those closest to Pendergast, the FBI agent, filled anew with vengeful fury, sets out to track down and destroy those responsible. His journey takes him deep into the trackless forests of South America, where he ultimately finds himself face to face with an old evil that-rather than having been eradicated-is stirring anew… and with potentially world-altering consequences.

Confucius once said: “Before you embark on a journey of revenge, first dig two graves.”
Pendergast is about to learn the hard way just how true those words still ring..

Now available at Amazon and wherever your favorite books are sold.
Learn more about Two Graves here.

About the authors:
Douglas Preston and Lincoln Child are the coauthors of the famed Pendergast series, including the first two books in the Helen Trilogy, Fever Dream and Cold Vengeance. Preston and Child are also the authors of the Gideon Crew series. Preston and Child’s Relic and The Cabinet of Curiosities were chosen by readers in a National Public Radio poll as being among the one hundred greatest thrillers ever written, and Relic was made into a number-one box office hit movie. Doug Preston’s acclaimed nonfiction book, The Monster of Florence, is being made into a movie starring George Clooney. Lincoln Child is a former book editor who has published five novels of his own, including the huge bestsellers Deep Storm and The Third Gate. Readers can sign up for The Pendergast File, a monthly “strangely entertaining note” from the authors, at their website, www.PrestonChild.com. The authors also welcome visitors to their alarmingly active Facebook page, where they post regularly.

Michael Davis: Karen Berger

I met Karen Berger around 20 years ago when Vertigo first became a DC Comics imprint. I was 5… heh. At the time I was doing work for Piranha Press, another DC imprint, which started around the same time as Vertigo.

From her start at DC, Karen was a no nonsense yet kind editor. What that means is if she did not hire you she let you down with the knowledge that you could come back.  Soon after Karen began her reign at Vertigo it became clear that you may have been welcomed back but if you sucked going back would just be a waste of everybody’s time especially Karen’s because if you sucked you would never ever work for Vertigo.

Now that did that mean just because you were a brilliant artist or writer your project would get a green light at Vertigo. Talent was just one of the factors Karen used to chose project. I pitched a project to Vertigo and Karen passed.

Hopefully it was because the project lacked something not because I sucked. Although when I saw Karen after the rejection she pretended to faint. The next time I saw her she pretended to have a heart attack and after that amnesia and so forth and on.

Karen, in my opinion is the last of the great comic book editors. That’s not to say there are not great comic book editors but Karen had a vision that was unique and her books wore that stamp.

Karen leaving Vertigo is one of the dumbest moves DC could allow. If she decided she wanted a change and I ran DC I would have told her to do whatever she wanted but just do it at DC. I like and respect Diane Nelson and I don’t know the particulars of why Karen is leaving so maybe dumb is the wrong word so I’ll say in my opinion it’s dumb to me.

Letting one of the most talented and original voices in the history of comics go is to me is just plain dumb. But for all I know Diane tried to talk Karen into staying but Karen faked a heart attack in the middle of the meeting.

Well, DC’s lost is someone else’s huge gain.

I can’t wait to see where she ends up. The moment I do I’m calling her using a fake name so she won’t have to fake amnesia. J

WEDNESDAY: Mike Gold

 

A Doctor a Day – “The Long Game”

Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode, The Snowmen.

Making the same move for new Companion Adam he did for Rose, The Doctor takes the trio to the year 200,000 – the middle of the fourth great empire, mankind at its height.  So when everyone seems to be not a lot further up the social advancement scale than the 20th century, he suspects something’s wrong.  Someone is trying to change things, very slowly, playing…

THE LONG GAME
by Russell T Davies
Directed by Brian Grant

“Time travel’s like visiting Paris; you can’t just read the guidebook, you gotta throw yourself in. Eat the food, use the wrong verbs! Get charged double and end up kissing complete strangers! Or is that just me?”

jagrafess-300x198-4119236The Doctor and co arrive on Satellite Five, news center for the empire, streaming information from everywhere, to everywhere. Journalists and techs are all angling for promotion to Floor 500, where it’s said the walls are made of gold. They’re off by one letter – it’s deathly cold, to ensure the health of the mysterious “Editor-in Chief”, the Mighty Jagrafess of the Holy Hadrojassic Maxarodenfoe. The Jagrafess has been stunting the advancement of the human race, keeping them from achieving its potential.  His assistant, played with style by Simon Pegg, works for a consortium of banks who are manipulating the news, and as a result, the people, to make things better for their investments.

(Eerily prophetic, isn’t it?)

And meanwhile, new companion Adam has decided to take advantage of the opportunities that access to 198,000 years of future history can provide, and attempt to download enough info to make his former employer look like the owner of a lemonade stand.

A simple done-in-one episode with a strong message and a solid monster, It’s a great example of how much Russell could get into his stories.  The set is both well designed and very efficient, budget wise – a bit of redressing and it takes the role of several separate floors.  And it’ll return later in the season as the plot threads of the season start to get tied up.

Russell T Davies made a running gag of the alien and planet names getting progressively more complex, all culminating in next season’s “cheap episode”, Love and Monsters, where the baddie is from the planet Clom.

Simon Pegg is the first big name to appear in the series, the first of a still-growing list who are all too happy to become a part of the show’s history.  Simon also narrated the first season of Doctor Who Confidential.  While she’s not as well known in the US, Tamsin Greig is a popular comedic actress in the UK. She recently played Sacharissa Cripslock in the two part mini-series Terry Pratchett’s Going Postal.

Interestingly enough, in an earlier draft, Adam has quite a different reason for doing the old Back to the Future Sports Almanac trick.  Originally, it was written that Adam’s father has a disease of some type, and he tries to access medical information in the hopes of saving him. It’s an interesting idea, but for The Doctor to take the information away and chuck him out of the TARDIS in punishment would make him the jerk.  It’d be warranted for breaking the laws of time and space and all, but it would still come off as a dick move.  The idea that he simply wants to profit works much better, and it shows that once again, this new Doctor is not infallible.

Related articles

A Doctor A Day – “The Unquiet Dead”

Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode, The Snowmen. This is not a mere shadow play.

If you want to get picky, this is a Christmas episode before they started doing them officially.  On Christmas Eve in 1869 Wales, The Doctor, Rose and of all people, Charles Dickens, join together to fight…

THE UNQUIET DEAD
By Mark Gatiss
Directed by Euros Lyn

“In what way do you resemble a means of  keeping oneself cool?”

Having shown her the future, The Doctor plans to show Rose the past.  Aiming for 1860 Naples, they land in 1869 Cardiff. Now, as a rule, the TARDIS doesn’t land where there’s nothing going on, and this was no exception.  At a local funeral home, the dead are rising again, and at an increasing rate.  This evening, an old woman rises and continues on with her planned events of the day, which included a trip to the theater to see Chares Dickens live.  This causes some consternation at the theater, which draws the attention of The Doctor.

Apparently it’s been happening from some time.  But they’re not ghosts, but aliens, known as the Gelth, a gaseous lifeform who inhabit the bodies of the dead as temporary accommodations.  Falling through a rift in spacetime, conveniently located in the basement of the funeral home, their request is simple – let them use the bodies of the recent dead so they can survive.  But like so many times before, the aliens beg for an inch, and they want to take over.  A simple chambermaid is the key to both their arrival, and their stopping.

Mark Gatiss

Mark Gatiss (Photo credit: Wikipedia)

Second only to Moffat (who will be joining us in a day or two), Mark Gatiss is the writer who is the closest to being genetically bred to write Doctor Who.  Writing for many fan productions and acting in a couple as well, he brought decades of love for the series to the table, and his story is both a great Victorian adventure as well as a solid and emotional Doctor Who script.  It’s peppered with tips of the hat as well, from the Dickensian name of the mortician, Sneed, and the door knocker that takes on a ghostly visage as the Gelth pass through it.  And not to mention the idea that after seeing a series of ghosts on Christmas Eve, he’s inspired to change his life. One of the extra’s on the disc is a video blog of Gatiss talking about the process of writing the script, from the first meeting on.  It’s interesting to hear about early ideas for the story, not to mention how seriously he’s taking the idea of bringing back a show he loves so much.  A big moment includes a gang of four including Rob Shearman, Paul Cornell, and Steven Moffat, before and after the first readthrough. The level of suppressed glee among the four is priceless.

Simon Callow, the prominent stage and screen actor, is possibly more associated with Charles Dickens than any living performer.  Appearing as the writer in several different works and media, he hesitated at playing the character in Doctor Who, fearing it’s be a simple cameo or camp parody. Only after reading Gatiss’ script did he agree, realizing he’d done a stellar job of getting Dickens’ character right.

This is also the second episode in a row where Rose talks to the service class folks, as equals.  She has a nice conversation with a plumber in Platform One, and with Gwyneth here.  In both cases, she gets them to open up a bit about themselves, and both seem quite appreciative to get a chance to just chat.  Interesting that things don’t change much in five billion years – people don’t notice the help.

Once again we see that this is a very different Doctor from before.  While everyone sees the idea of “spirits” taking over corpses as anything from shocking to blasphemous, The Doctor sees as perfectly reasonable, an extreme form of recycling.  His practicality is…well, alien. Of course, the emotional response when he hears that once again, this is a race almost destroyed by the Time War, named for the first time here, colored that choice. And once again, he makes the wrong choice, and as a result, people die.  That takes some getting used to.

Three episodes in, and we’re already starting to see the beginnings of the spinoff series, Torchwood.  Eve Myles plays Gwyneth, the maid and assistant to the funeral home.  Centuries later, her descendent (well, not HER descendant, clearly) Gwen Cooper will become a policewoman and become involved with the mysterious organization.  Russell T Davies referred to Myles as Wales greatest hidden treasure, and begorrah, he’s not far wrong.  This episode also introduces the rift under Cardiff, a source of extradimensional energy that will return as a plot point for both series, a fuel source for the TARDIS and a source of McGuffins for Torchwood.

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A Doctor A Day – “The End of the World”

Cassandra (Doctor Who)

Cassandra (Doctor Who) (Photo credit: Wikipedia)

Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode, The Snowmen. Travelers are advised against the use of weapons, teleportation, and religion.

In this episode, it looks like it’ll be a fabulous evening’s apocalypse, but The Doctor and Rose find out that there’s a chance they may be in danger during…

The End of the World
by Russell T Davies
directed by Euros Lyn

“Moisturize me, moisturize me!”

Rose wants to visit the future – The Doctor takes her to the year 5.5/apple/26, five billion years on, the day the Earth will be destroyed by the sudden expansion of the sun as it dies.  Humanity has long since moved on throughout the galaxy, and the death of their homeworld is seen as more of a celebratory experience.  Platform One, a massive force-shielded spacestation is the floating ballroom for a huge party to watch the planet get the finger, and that’s where Rose and The Doctor have landed.  Enjoying the opportunity to hobnob with extraterrestrials, Rose begins to notice that some…THING is wrong on Platform One.  The force fields are brought down, and Lady Cassandra stands revealed as behind a plot to put everyone in danger solely to collect on a massive compensation suit.  As The Doctor says, five billion years later, it all comes down to money.

We’ve seen in the first episode how well the new Who crew can do a story set on Earth, so they chose to impress us quickly and go big with a quick trip into the future.  A wide assortment of wonderful makeup, mechanical effects and CGI provide a solid and believable experience, with no “wobbly sets” as they playfully reference in the commentary and on confidential the occasional cheesiness of the original series.  Davies keeps a good balance of the dramatic and the silly here.  Billie Piper gets some great scenes as she comes to grips with the fact that she hopped into the proverbial car with a total stranger, and stands a severe chance of getting burned over it. Literally.

There’s quite a few first appearances in this episode.  In addition to recurring characters like the Face of Boe and Cassandra O’Brien, it’s the first appearance of the Psychic Paper. Another brilliant little idea to explain how easily the Doctor can get into any situation so smoothly, it’s a tool that’s rapidly become as commonplace and popular as the Sonic Screwdriver.  It’s also the first time a running concept was used clearly – when the TARDIS travels into the future, the Time Vortex is red, when they travel into the past, it’s blue.  When Tennant and Smith take over the role, that color theme carries through to their costumes – check the colors of Ten’s outfits, and Eleven’s bowtie.  And assuming you already know how the season ends, you might notice this is the first mention of “Bad Wolf” – two aliens are chatting, and one mentions that this is “The bad wolf scenario”.

Davies starts another tradition going here as well – spectacular characters who appear once alone yet appear fully formed.  Jabe of the Forest of Cheem is the first person to sacrifice herself to help The Doctor,  She’s also the first to reveal a bit more about the Great Time War. It was mentioned in the previous episode; the war was the reason the Nestene food planets were lost, and The Doctor admits he couldn’t stop it.  But here we learn that the rest of the Time Lords are gone, and his world is destroyed.  The details are yet to come, but it’s a major departure from the previous series.  The Time Lords were always seen as unassailable, undefeatable.  For them to fall shows that no one in the universe is infallible.  And that carries through to The Doctor.  In the new series, he makes mistakes, and sometimes those mistakes put people in danger.  It gives the Companions a chance to save the day, and generally increases the sense of drama: The Doctor will not always have the answer.

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Dennis O’Neil: She-Spies

Fictional spies seem to come in two varieties, with numerous subsets: There are the glamorous and super-competent who bop around the globe, always traveling first class, driving lavishly sports cars, staying at palatial hotels, indulging in expensive cuisine and exotic liquor and comely members of the opposite sex and killing bad guys and saving civilization from slightly caricatured nut cases. (Bond – James Bond.)

If you can ignore the authoritarian subtext, mentioned in his space last week, and if you aren’t bothered by the veneration of conspicuous consumption, this almost-fantasy can be excellently entertaining, and often I have been excellently entertained by it.

This kind of secret agent is currently represented on television by Covert Affairs, a show in which the superspy is a woman incarnated by Piper Perabo. Her character isn’t quite as over-the-top as Bond, and thus far her opponents haven’t been any more caricatured than most televised antagonists, but she is one tough jet-setter who doesn’t stay in hostels when abroad and seems to have no qualms about her profession. She is part of a CIA unit that functions as a surrogate family, has a brotherly colleague with whom she has a platonic (so far) relationship, and even a biological sister. Oh, and she’s gorgeous. Did I mention that – the gorgeousness?

The other kind of fictional spy is a lot less fun. You find him/her in print in the novels of John LeCarre and Graham Greene and on the screen in movies made from those novels, and, I guess, some others. On the screen in your living room, this brand of spy is represented by another woman who is a far distance from Ms Perabo’s Annie Walker. Claire Danes’s Carrie Mathison, of Homeland fame, is deeply conflicted and in need of psychiatric help, which she got in the last episode of the previous season in the form of shock therapy. Ouch!

She has a love-hate relationship with her primary antagonist and doesn’t always mesh with her fellow CIAers. She usually looks unhappy and she’s been known to raise her voice. Her world is dark and the mortal climate is ambiguous: watching Homeland this week, I saw a beautifully written and played scene in which Carrie and a terrorist debated the righteousness of their respective causes and neither was in error. Grey is apparently the universe’s hue of choice and Homeland reflects that.

So what kind of spy story is better? Hey, no need for such a comparison. There is absolutely nothing wrong with pure entertainment and I would sashay along Annie Walker’s path any time. But – maybe drama should occasionally try for something more than entertainment. Maybe it should reflect the perplexities of the real world and maybe it should prompt us to question inherited wisdom and assumptions and so, if we were indulging in pointless comparisons (and we’re not! We’re not!) Carrie would be the more valuable she-spy.

But I’d still rather sashay with Annie.

RECOMMENDED LISTENING: The Science of Natural Healing, presented by Dr. Mimi Guarneri and available from The Teaching Company. The information Dr. Guarneri gives us could conceivably save lives. Stuff everyone should know.

FRIDAY: Martha Thomases – Where Are The New Nerds?

 

 

HANCOCK TIPS HIS HAT TO ‘HUNT AT WORLD’S END’!

  • News
  • December 5, 2012

TIPPIN’ HANCOCK’S HAT-Reviews of All Things Pulp by Tommy Hancock
HUNT AT WORLD’S END
By Nicholas Kaufmann (writing as Gabriel Hunt)
Gabriel Hunt created by Charles Ardai
Published by Leisure Books, 2009
There’s something to be said for archetypes.   We enjoy them, we return to them, many sociologists and psychologists say that they are essential to our survival as individuals and a race.  And being a fan of Heroic Fiction and particularly of Pulp, I am darn glad that writers today believe in archetypes as well and don’t shy away from writing a story around a character who is like some previous creation or reminds readers of that guy in that movie.  Many good tales are written because writers, too, enjoy playing with archetypes.
Enter Gabriel Hunt. 
Created by Charles Ardai, the genius behind the Hard Case Crime books, Gabriel Hunt is one of two brothers whose parents mysteriously disappeared and are believed dead.   The brothers are now entrusted with the operation of the Hunt Foundation, which Gabriel leaves largely to his brother Michael while he travels the globe rescuing lost artifacts from the wrong hands in efforts to give them to museums and, if necessary, saving the world in the process.
Sound a tad familiar?  Yes, there are definite shades of Indiana Jones and other such fortune and glory for museums types in Hunt.  But in this tale that opens with a bar fight in an Explorer’s type club and involves chasing down three jewels and an ancient Hittite device, Hunt definitely steps out as his own character.  This is both a blessing and a curse for the story.
The action is well paced throughout HUNT AT THE WORLD’S END, the third novel in the series, and leaps off the page at the reader.  The characters are engaging, colorful, and run the gamut of beautiful I-Can-Take-Care-of-Myself damsel, over the top villain, and even an ancient cult of scaries with worldwide membership thrown in for good measure.   The build up of and resolution of the adventure is nearly flawless.  And Hunt himself provides a heroic figure that the book revolves around easily.
Mostly.
It seems that many writers feel the need to write characters in Heroic Fiction today that will hopefully have a broader market appeal than typical concepts of Heroes as we see them.  There have to be flaws, there must be angst, there have to be internal complications that give breadth, depth and color to the hero, even in some cases making him seem less than heroic.  This is supposed to, I think, make him appear more heroic when he works his hero mojo.
In HUNT AT THE WORLD’S END, all this sort of characterization, most of it done as internal narration, accomplished was to make Hunt seem insecure, arrogant, and whiny.  The middle of the novel is bogged down with Hunt’s concern over a particular cast member being involved in their hunt, his love or interest or whatever he has in the aforementioned damsel, and there’s even a hint of regret for his chosen life thrown in.  All of this is fine if it’s handled correctly, but the way it’s presented in this book makes Hunt’s subsequent heroic actions seem hollow, false.
Another point about this book- and this is more the writer in me, not the reviewer, complaining- is the fact that it is written under a house name of the lead character.  Gabriel Hunt wrote the book and yet it’s in third person.  It would have been much more affective to have this tale told in first person and would have made some of the above mentioned issues with whininess a little easier for the writer- and the reader- to deal with.
THREE OUT OF FIVE TIPS OF THE HAT- HUNT AT WORLD’S END is a great actioner, wonderfully paced with plenty of derring do and baddies for the good guys to contend with.  I just wish I liked the hero more than I did and that maybe in this instance, the author would have stuck a tad more to the archetype than trying to broaden his reader base (that he was doing that is only my assumption, but still…this is my review).

The Doctor Who Gift Set, for the fan with all the time in the world

If you’re not sure what to buy somebody who’s a fan of something, you can’t go wrong by giving them everything.

dr-who-big-box-set-300x300-8467015This year’s Doctor Who analogue to the Official Red Ryder Carbine-Action Two-Hundred-Shot Range Model Air Rifle is the Doctor Who Limited Edition Gift Set, collecting the entire run of the new series on DVD, from Eccleston to Tennant to Smith.  It also includes a replica (dang) of the eleventh Doctor’s Sonic Screwdriver, a copy of IDW’s Doctor Who comic, specifically the San Diego Comic-Con special issue, and a set of lovely art cards of the Doctors of the new series and their companions.

Each of the series sets is as complete as they can physically be without including DNA samples.  All the episodes, plus the episodes of the late lamented Doctor Who Confidential, cut scenes, episode commentaries, prequel episodes, the Children in Need and Comic Relief sketches, features from the website, and believe it or not, many more.

Rounding out the set is the trilogy of specials BBC America did as a lead-up to the new season: The Women, Destinations and Timey-Wimey of Doctor Who.  In each, cast members, celebrities and various dignitaries all ruminate and reminisce about the series, discuss the possibility of the technology of the show crossing over to the real world, and compare how quickly they’d race into the old TT40 if it landed and The Doctor held out his hand and said “Join me”.

Now, a set like this demands one’s attention.  And that’s exactly what I’m going to give it.  Starting tomorrow, I’ll be doing A Doctor A Day, where I’ll watch and review (at least) one episode a day, all in preparation for the new Christmas episode The Snowmen, lensing, oddly enough, on Christmas Day.

The Doctor Who Limited Edition Giftset is available via Amazon and any number of online purveyors of fabulous.

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