The Joy of Watching TV on DVD

I enjoy watching and collecting television on DVD, as the large number of reviews on this blog can attest. There are certain advantages to watching any television show on DVD. I usually watch one series at a time, watching the entire season (or DVD set), in order, and then reviewing it. Back in the day, before DVRs, before DVD, before Blu-Ray, I actually often did see a lot of programs “stripped” in daily syndication. That meant the program was shown, every day, at the same time, Monday through Friday. Weekend syndication meant the show was shown every week at the same time on Saturdays and Sundays or on just Saturdays or just Sundays. It would become a habit to watch the same show every day at a certain time. Not that I couldn’t miss it to do something else occasionally, but it was common. So, I find I can concentrate on a series better, and pick-up more, when I watch all of it at once – or at least a full season. Watching a show on DVD (or Blu-Ray) means I can see the entire thing, in order, in good quality, without missing anything due to pre-emptions for sports or due to bad weather. Writing reviews gives me blog content, but it also, like my book and audio play reviews, it is a way to process what I’ve seen before moving on to the next show. I also get a sense of satisfaction from finishing a DVD season set, and I really get a sense of satisfaction from finishing a TV series. It’s the same sense I get from finishing a long novel or a thick non-fiction book.

When I started purchasing DVDs, I was only buying the programs that I really liked. Either older ones that I remembered watching, or the previous season’s shows that I currently enjoyed. But now it’s different. Now I buy a mix of shows that I have previously seen, such as classics I remember watching in syndication or even when they first aired or current shows; and shows that I haven’t seen at all. Because DVDs and even Blu-rays are relatively inexpensive – I now often try out a series that I haven’t even seen based on recommendations from friends, reviews and chatter online, even people tweeting about it! (such as Game of Thrones, Ms. Fisher’s Murder Mysteries, Call the Midwife, and I plan on trying Yuri on Ice at some point). If a friend likes something, I reason I might like it too. If there’s a lot of chatter on Twitter or Facebook or on entertainment websites (Hollywood Reporter, The Mary Sue, Bustle) about the show, I may want to see what the fuss is about. And I have seen friends on Facebook actually ask for recommendations for what to add to their Netflix queue. I can’t do Netflix for technical reasons that don’t bear exploring at this juncture, but when half a dozen friends rave about how good something is – I take notice. That’s how I found Ms. Fisher’s Murder Mysteries, which I do like and I plan on buying the remaining seasons when funds allow.

If I have never seen a show, my one rule is I only buy the first season to start. That way, if I watch the season and it’s not to my taste, well, I’m only out the $20-$30 or less that it cost to buy the season. And I can always sell or give away the copy. And if I like what I see, I often will go ahead and purchase the rest of the series that’s available and start watching it with the next season (iZombie) or add it to my “must buy” list (Outlander – because even if I was willing to add another premium pay station for one show – my satellite system doesn’t carry Starz).

Also, television these days is being written for the DVD/Blu-Ray market. In part because of shorter running times on commercial stations, and because some network executives actually have realized that the audience is smart enough to follow a series from week-to-week and thus they can do a continuing story – a lot of series play better on DVD. Game of Thrones is the ultimate example of this, as it’s a complicated story with dozens of characters and locations and each episode is like a chapter in a novel, rather than something stand-alone. But the superhero shows on the CW also, probably due to running length, work just like the books they are drawn from. They are continuing story lines. And also, like DC Comics, periodic crossovers are a staple. As is bringing in guest characters. Much more so than the DC Extended Universe films – the DC Shows on the CW really do give you the feeling of watching a DC book. Reading the monthlies (or as is the case now – the biweeklies) and watching the weekly shows – really are very much the same in feel. And, like their printed counterparts, each season builds on the previous one. In this aspect, watching a show on DVD in some cases makes more sense. When I watch a show on DVD (or Blu-Ray) I usually watch at least one episode per day, sometimes more if it’s the weekend or I have a day off. This compresses a show a lot. Many of the cable stations, both commercial and premium run short seasons. A sixteen-episode series I can watch in a couple of weeks. A ten-episode series often in a single week. Even a traditional “full season” of 22 episodes I can watch in less than a month usually. So something that runs an academic year (September through May) I can watch – in a month. It is inherently faster. And I get a sense of satisfaction from finishing off a season or a series.

There is one major drawback to DVD though. Watching television is no longer a communal event. We no longer have everyone watching the same thing at the same time. It’s out of sync. If I watch something two or three years after it originally premiered – I’m going to miss out on the Internet activity about that show. The smarter networks are trying to counter this – with live-Tweet events, contests, and contracts that require their actors to be on Twitter promoting the show when it’s on. But if you miss all that – it’s gone.

And the days of fans all being attracted to the same show at the same time are also more or less gone. In a sense, if you watch most of your television via DVD (or Netflix or On Demand I’d guess) it’s almost more like reading books in terms of finding fellow fans. You experience the media product separately. But you still want to come together with fellow fans to talk about it and burble happily.

This is compounded for series from the past, especially series from over a decade ago. I often found great shows of the past (Wild Wild West (weekend syndication); The Man from UNCLE (daily syndication); even classic Star Trek (weekend syndication)) through re-runs. Today, there is very little in the way of re-runs. Most of the cable stations are running original programming – and they program to very specific audiences. This is a double-edged sword. The breadth of the new broadcasting landscape means that more audiences are served, there are more opportunities for writers, directors, producers, and actors (as well as below the line talent), and more audiences can find what they want to watch. But it also means that, with very few exceptions, there are no longer shows that “everyone” watches. Which also means, younger audiences are not even being exposed to the “classics” of television. Some one who is, say 30, might see the new Man from U.N.C.L.E. movie because they like the cast, or the director, or even because the trailers looked cool – without ever having seen an episode of the original series. And they really have no incentive to watch it. This isn’t young people being “stupid” – it’s just how it is. If you were born in the late 60s, how much incentive did you have to watch the Westerns that your parents liked? Did you enjoy the endless re-runs of The Big Valley and Bonanza? I know I was completely turned off to Westerns as a genre, as a kid, and I had no desire to watch any of the ones that my Dad liked. But I watched every spy show I could find running in syndication: The Man from UNCLE, I Spy, Get Smart, and even James Bond (though those were movies – I vividly remember watching every single one on HBO when we first got cable when I was a kid and I lived in a much more urban area than I do now). I even watched all of the British series The Prisoner and a little bit of The Avengers (the British spy series starring Patrick MacNee and Diana Rigg), and when I was a bit older, The Saint (starring Roger Moore) on A&E. But people who are in their 20s and 30s today – they have no opportunity to watch any of those shows. They aren’t being run in syndication. And, as I pointed out, few people would seek them out when there are so many other entertainment choices out there.

This is one reason why I post reviews of everything or nearly everything I watch as I watch it – no matter when it was made, not just the new stuff. It’s an opinion on a show made in a time with some context to that time, that might just interest someone who either hasn’t heard of it or, more commonly, has heard of it but never seen it. Just like I will take a chance on something my friends rave about that I haven’t seen.


Doctor Who Episode Review – Deep Breath

  • Series Title:  Doctor Who
  • Story Title: Deep Breath
  • Story Number: Series 8, Episode 1
  • Original Air Date: August 23, 2014
  • Cast: Peter Capaldi as The Doctor, Jenna Coleman as Clara Oswald, with Neve McIntosh as Madame Vastra, Catrin Stewart as Jenny Flint, and Dan Starkey as Strax

“I am alone. The world, which shook under my feet, and the trees and the sky, have gone. And I am alone now… The world bites now, and the world is grey, and I am alone.” – The Doctor (Peter Capaldi)

“But he is the Doctor. He has walked the universe for centuries untold, he has seen the stars fall to dust.” – Madame Vastra

“I wasn’t. I didn’t need to. That was me talking. You can’t see me, Can you? You look at me and you can’t see me. Do you have any idea what that’s like? I’m not on the phone, I’m right in front of you. Please, just… just see me.” – The Doctor (Peter Capaldi)

I remember, just barely, watching “Deep Breath” in the movie theater for the premiere. And, of course, watching it and the rest of the season on BBC America and later still on DVD. See my review of Doctor Who Series 8. But I’ve decided to re-watch Peter Calpaldi’s Doctor Who from the beginning. If you have been reading my Patrick Troughton Era reviews, this means I very well may skip “The War Games” but I did review the rest of his stories that are available on DVD. Anyway, I have seen series 9 and 10 on BBC America, but not watched them on DVD so those reviews will be forthcoming eventually. What is amazing about “Deep Breath” is that although it in much more subtle than the Matt Smith era, it does set up themes that will be returned to over and over throughout the Peter Capaldi Era.

The opening of “Deep Breath” is in essence merely a McGuffin. As cool and as incongruous as a dinosaur in Victorian London in the Thames is, and as silly as said dinosaur vomiting up the TARDIS which caused it to be transported, that is merely a McGuffin – the dinosaur bursts into flames immediately upon the Doctor promising to save it. This leads the Doctor and the Paternoster Gang to investigate a series of similar murders, which leads to the Doctor discovering a restaurant of clockwork people, which is really an ancient spaceship.

This spaceship is the S.S. Marie Antoinette, sister-ship to the Madame de Pompadour, which the audience knows from the David Tennant episode, “The Girl in the Fireplace”. So the audience knows about it’s clockwork occupants who replace parts with human (and in this case, dinosaur) parts. The Doctor, however, keeps insisting that he can’t quite remember why it is so familiar.

My the themes of identity and obsessions with endings and even death link this story with the entire Peter Capaldi Era. From Clara not recognizing the Docor, not seeing him as the Doctor, and being freaked out that he regenerated, he’s “renewed”, but his “face has lines” and “he’s old”, to the “broom speech” where the Doctor is ostensibly talking about the droid leader, but he could easily be talking about himself. When he’s “translating” for the dinosaur who is so alone, the Doctor could be talking about himself as well. And in the last scene between the Doctor and Clara, he practically begs her to “see him”. Capaldi’s years as the Doctor would feature many more references to both the Doctor’s great age, and his almost being ready to give up because he’s fought for so long. This is what is very good about this episode – it introduces a theme, which will be returned too again and again, not so much in Series 8, but usually at least once a season during the Capaldi years. And even his final Christmas special is as much about whether or not he will regenerate as anything else.

However, independent of the season and the era, even though it looks very good, the plot of “Deep Breath” isn’t that impressive. The opening gambit with the dinosaur is used more as an elaborate joke and then as a McGuffin to introduce the real plot as anything else. I actually felt bad about the dinosaur exploding, but it’s a sign of bad writing as well. How do you get rid of the extraneous character who’s only purpose was to get your characters together so they can solve the mystery? Why making that character yet another victim in the series of crimes. Goodbye, dinosaur.

But worse, the central plot is lifted straight from “The Girl in the Fireplace”. Even the Doctor remarks that droids using human parts, a hidden spaceship that crashed eons ago and is looking to return home “the long way around”, and the name of the ship, S.S. Marie Antoinette, sister-ship to the Madame de Pompadour, sounds familiar. And for anyone watching, unless they never saw “The Girl in the Fireplace” – it does sound familiar – it’s the same plot. Steven Moffat is literally stealing from himself. And this isn’t the first time he does it – Amy Pond’s entire characterization and her arc plot are identical to Reinette in “The Girl in the Fireplace”, from first seeing her as a child, to Reinette/Amy’s steady belief that the Doctor will always be there for her (something Clara also does in “Deep Breath”). Moffat doesn’t so much write original stories, as re-write his most popular ones over and over again, changing only the character and maybe the setting. This something often found in genre writing such as mysteries or romantic suspense. It works for awhile, but sooner or later as a reader, one realizes it’s the same story over and over and over again.

Still, having re-watched Patrick Troughton’s Era on DVD, I’m excited about re-watching the Peter Capaldi era again.


Everyone’s Doing a Musical – What Makes it a Good One?

The Musical episode. Something that sets many a fan’s teeth on edge. Or, something that is eagerly anticipated. But what makes a musical episode good? And what makes the inevitable songfest not so good?

First some good musical episodes: Buffy: the Musical – the one that started it all, or at least made it easier for genre television shows to do musical episodes. Once Upon a Time the Musical Episode – they didn’t miss a step or a beat with this one. Batman the Brave and the Bold “Mayhem of the Music Meister”. And a bad musical episode: The Flash “Duet”.

First, the musical episode should be integrated into the show – it should fit with the show it is in. Batman The Brave and the Bold‘s musical episode works because it is just like any other episode of that show – in animation style, it the way that the plot works, in the almost stylistic way the plot unfolds – it’s just like any other episode. Plus the villain, the Music Meister uses music to control people, so it makes sense that it would be a musical episode.

Once Upon a Time also fits their musical episode in to both the season-long arc and the typical style of the show. The musical episode opens in the Enchanted Forest with a scene that looks like a live-action interpretation of Disney’s Snow White. As the story moves along, the musical and tempo become more modern, to fit with the style of the show. The last two songs take place in Storybrooke, as we see Emma use her song, and a finale.

To be honest, it’s been awhile since I’ve seen Buffy the Musical, and I’m more familiar with the soundtrack to the musical than the television episode itself. However, like Once Upon a Time, in Buffy the Vampire Slayer, a character wakes up and suddenly is singing. And, as the characters in Once Upon a Time also briefly do – in Buffy the characters try to figure out why they are suddenly singing. But in Buffy it’s a demon that uses “truth in song” to get the characters to be honest – yet also breaks them apart. In Once Upon a Time, the singing is caused by a wish on a star (and fairy magic) but it brings the characters closer together.

Not only does the musical episode need to be integrated into the plot, but the songs need to fit the characters. Every musical episode I’ve seen tends to be character-based. There may be a number or two that is used to resolve or fix the plot, but the big numbers are used to illustrate character. Once Upon a Time, in the tradition of the great “sung” musicals (where every line is sung, including plot) uses songs to advance the plot as well as giving major characters a song just for them. This is different than a musical such as Meet Me in St. Louis where the songs tell you what a character is feeling but not who they are. When Julie Garland sings “The Trolley Song”, we know she’s in love. When Zelena sings, “Wicked Always Wins” we know she believes she will beat her sister and be better than her.

Finally, it helps if the music and the songs are original. Buffy the Vampire Slayer, Once Upon a Time, Batman: The Brave and the Bold – they all have original music written for the characters and the plot. Once could have used existing Disney songs – but they did not, and the musical is better for it. It’s possible to write, edit, direct, and choreograph a good musical with existing music (such as Moulin Rouge), especially for television, new music wins out.

So my single example of a bad television musical is The Flash “Duet”.  Oddly enough, the villain in “Duet” is the Music Meister, the same villain from Batman: the Brave and the Bold. But unlike in the animated series, where the episode is like any other episode, except for the music – in The Flash, Barry and Supergirl (Kara) are knocked unconscious by the Music Meister, and sent to a fantasy world, where they meet other members of the cast, who are other people. Guess what? We don’t care about these other people. It’s like Barry Allen had a bad nightmare where he was trapped in the cast of Guys and Dolls or West Side Story, with Supergirl along for the ride for in essence, no good reason. I mean,don’t get me wrong, I like Kara, and she and Barry have good chemistry, but I really don’t think sending the two to dreamland worked as a plot device. Second, instead of causing havoc and controlling people, the Music Meister seems to think he’s cupid – because the entire point of the episode is to get Kara back together with Mon-el and to get Barry back together with Iris. To me, the only song that really works in the entire story is when Barry sings “Run to You” to Iris and proposes to her. Because yes, not only is “Duet” set in a fantasy world – none of the music is original except “Run to You” which Barry sings to Iris in the real world! Honestly, if they’d had Music Meister controlling people, making them sing, and do what he wants (Can you see the Rouges like Captain Cold singing?) and kept the story in Central City like normal, it would have worked better.

So there you go – some opinions about how to do and how not to do a musical episode. What do you think? Do you like musical episodes? Why or why not? What are some of your favorites? Please respond in the comments.


Doctor Who References in the Arrowverse

Since the beginning of the television series, Arrow, the CW’s DC shows have referenced the long-running BBC television show, Doctor Who on a fairly regular basis. These are references from the 2016-2017 seasons of Supergirl, Legends of Tomorrow, and The Flash.


Arrow and the rest of the CW’s Arrowverse has featured many former Doctor Who actors, including Colin Salmon as Walter Steele in Arrow, Arthur Darvill as Rip Hunter in Legends of Tomorrow, Arrow and The Flash, John Barrowman as Malcolm Merlyn in Arrow, Legends of Tomorrow and The Flash, and Alex Kingston as Dinah Lance in Arrow. The most amusing of these is, of course, Arthur Darvill who played the companion Rory Williams to Matt Smith’s Doctor, and who now leads his own merry band of time travelers in Legends.

Legends of Tomorrow References

Corrupt Time Masters and Villainous Time Lords

The first season of Legends of Tomorrow featured the Time Masters, a group who are supposed to be guardians of time, but as the season progresses are shown to be corrupt. On Doctor Who, the Doctor is a Time Lord who escaped his own planet, Gallifrey. In the Classic series, when the Doctor met other Time Lords, such as the Meddling Monk, the Master, the Rani, or the War Chief, they were often villains. When the Doctor returned to Gallifrey, he, more often than not uncovered corruption at the heart of his own society. Even when the Doctor was put on trial by his own people, the Doctor ended up uncovering corruption and conspiracy and challenging it. When the new series started, Gallifrey was simply no more, destroyed in the Time War. Over the ten-plus years of the New Series, we have learned more about that conflict, but the tendency for corruption of power on Gallifrey certainly hasn’t stopped. There is, then, a certain resemblance between the corruption Rip Hunter uncovers at the heart of the Time Masters and the corruption the Doctor faces on Gallifrey every so often.

Where have We Seen This Before?

In the second season of Legends of Tomorrow, the Waverider has a new computer console. This six-sided console looks very similar to the TARDIS console.

This is especially true when you consider the TARDIS console room is redesigned on a regular basis on Doctor Who.

Lily – Second Doctor Cosplayer?

In the second season of Legends of Tomorrow due to Martin Stein meeting his younger self, when he returns to the present he meets his daughter – Lily Stein. Previously, Martin and his wife, Clarice had no children. Now, they have a brilliant daughter, a physicist named, Lily. Lily, though with her black string ties, white shirts, and black jackets or cardigans dresses more like the Second Doctor than she dresses like the other intelligent women on the CW shows, such as Caitlin, Felicity, Kara, or Sara.

Rip Hunter – Missing in Time with an Personality Over-Write

In the second season of Legends of Tomorrow, Rip Hunter is missing in time. When the Legends find him, his personality has been hidden and over-written as a form of protection. Because of this he doesn’t know who he really is (he thinks he’s a film student), nor does he recognize the Legends.

This is eerily similar to the final three episodes of Series 3 of Doctor Who, in which the Master as played by Sir Derek Jacobi has hidden his personality inside a pocket watch to hide himself from the Time Lords. With his personality hidden – he doesn’t remember being the Master or even being a Time Lord – he thinks he is a scientist. When the watch is opened, not only does he remember being the Master, he regenerates into John Simm.

Rip Hunter also remembers but is immediately captured by the Legion of Doom and re-programmed to do their bidding.

Legends of Tomorrow – Curiously American Doctor Who?

Of course, the entire premise of Legends of Tomorrow, that of a group of Time Travelers out to preserve history and prevent or reverse aberrations in the timeline, does in many ways remind one of Doctor Who. Now, for much of it’s history the Doctor and his companions have treated history as a prime vacation spot – but also as the “foreign country that’s a nice place to visit but you wouldn’t want to live there”. In other words, the Doctor and his companions neither set out to change history nor set out specifically as a goal to stop others from changing history. Nevertheless, a frequent plot in Doctor Who is that someone or something is out, deliberately or merely by their presence, to change history and the Doctor must stop it. Certainly, Daleks invading London in the 1980s would have an effect on history for example. So the ability to interfere, to change history, or in some cases to not change history, are frequent plot threads in Doctor Who.

Supergirl References

Starry Night

In the Supergirl episode, “Star-Crossed”, Winn’s alien girlfriend frames him for stealing the painting, Starry Night by Vincent Van Gogh. Starry Night also featured heavily in the Doctor Who episode, “Vincent and the Doctor”. Although Vincent Van Gogh and Starry Night are both famous, so it is perhaps not surprising that on Supergirl, Winn would be framed for stealing that particular painting. But the show could have had any Old Masters painting stolen for plot purposes or it could have been a modern painting as well (and in many ways, modern art would have suited the plot better). That “Starry Night” was chosen seems like a deliberate reference.

Single Combat for the Planet

In the two-part season 2 finale of Supergirl, she challenges Rhea “for the planet” as a way of stopping the Queen of Daxam from conquering Earth. In David Tennant’s first episode, “The Christmas Invasion”, the Doctor (David Tennant), having discovered the invading force are using “blood control” to control and threaten a fourth of the population of Earth, challenges the aliens to single combat – “for the planet”. The Doctor wins his fight against the aliens. Supergirl eventually defeats Rhea, despite Rhea using Kryptonite against Kara. However, Rhea doesn’t accept defeat and calls in her guards.

The Doctor Who plot point of “blood control”, is very similar to the way Myriad is used in the first season of Supergirl to control National City citizens.

The Flash References

“It’s like one of those scientific romances by that Wells, chappie”

The claim to fame for HR Wells in Season 3 of The Flash is that he is a writer of “scientific romances”. This is the exact term used for HG Wells’ writing in “Pyramids of Mars” and “Time Lash”. HG Wells is mentioned fairly often on Classic Doctor Who. Also, having a character named HR Wells – just saying.

Savitar’s Back-up Plan

After HR Wells sacrifices himself to save Iris West, Savitar has another brief plan that he describes to Barry: he will split himself across all time and these splinters will rule time and incidentally destroy Barry’s life. In the classic Tom Baker episode, “City of Death”, Scaroth – last of the Jagaroth, has been split across time after his spaceship crash lands. Because these different versions of Scaroth are in contact with each other mentally they make money by having copies of priceless cultural works made back in time and hidden to sell later. For example, he has Leonardo Da Vinci paint six copies of the Mona Lisa. Although Savitar isn’t able to attempt his back-up plan – it sounds like it was inspired by Scaroth.

When All Else Fails – Reverse the Polarity of the Neutron Flow

In the season finale, as Cisco is trying to get the satellite and computer systems working after an explosion at Star Labs, he says, “Hey Wally, Can you reverse the polarity on the neutron flow?” This references the Third Doctor catch phrase to “reverse the polarity of the neutron flow”. It is a brilliant nod.

Paradoxes Take Time to Set

In The Flash, once Iris is saved, Cisco and Barry discuss that it will take time for the change to catch-up to them. This plot point gives Savitar a little bit of last-minute time to try and save himself. None of Savitar’s last-ditch efforts succeed, and he disappears from existence. In Doctor Who, especially during Matt Smith’s time as the Doctor – time continues to be malleable for a short period before becoming fixed. On the other hand, important details in time are often referred to as “fixed points” especially by David Tennat’s Doctor. This fluidity of time, where time paradoxes act more like a wave taking time to reach the shore rather than being instantaneous, is also seen in Legends of Tomorrow Season 2.

Doctor Who references in Arrow, Supergirl, Legends of Tomorrow, and The Flash are pretty common and range from actors from the British series appearing on the Arrowverse shows, to quotes, to plotlines. But I do not feel the Arrowverse is copying Doctor Who, rather, it adds to the fun.


Adding My Book and Graphic Novel Reviews – Update 5

I have now cross-posted all my reviews from GoodReads to my blog here on WordPress. It’s been quite a project. But I completed it! I’ve also gotten a lot of likes from others on WordPress along the way, found new followers, and found new blogs to follow – for that I am profoundly grateful. Book reviews are popular – who knew?

Never fear though – this is an open-ended project so it isn’t really the end. I will continue to review at least one Big Finish audio play per week, and at least one graphic novel per week. I actually have a new audio and a graphic novel to review on my desk right now. I’ll also post my book reviews as they happen. I like GoodReads and it makes for an excellent reading journal, so I will still post new reviews there first, and I will then cross-post the reviews here to WordPress within a day or two.

I’m currently reading the second book in the Doctor Who Timewyrm mini-series that starts of the New Adventures. I’ve started the Doctor Who New Adventures books, so expect reviews of those as I read them. I’ve also found through reading and copyediting my own reviews that I miss reading the typical “English cozy” style of mystery, so expect reviews of those too. I will also continue to post reviews of various television series box sets. And I want to get back to reviewing movies because it’s been awhile. So there shouldn’t suddenly be a lack of content.

I’m also want to fit reviewing movies back in to my schedule. I’ve been watching my backlog of those too, usually one, and on my weekend – because with my schedule I don’t have any other time to do it. However, many of the films I have on DVD or Blu-Ray to watch I have never seen before, or I have and it’s been years, or even if I saw the film recently in the theater, I still want to watch it once without interruption before watching and reviewing. My mindset for watching and enjoying a film is slightly different than for watching and reviewing it. Still, it’s something that I want to get back to.

So even though in a sense this project is now complete – it’s open-ended too. Again, I sincerely appreciate the likes and new follows, and I welcome comments too. Thank you all!


Nightwing New Movie – Who should Direct?

Warner Brothers adding a new Nightwing movie to the DCEU has gone from rumor to something that will definitely happen, even if we don’t know precisely when it will happen. That’s okay, I’m patient, and it’s about time that the general populace got a chance to meet grown-up Dick Grayson – the man comics fans know, who is no longer running around in short green pants. So, naturally I’ve been following the news on-line about the film.

Director Promises a Nightwing Film of Action and Heart

But reading about the film, while it sounds promising, I found the following quote, well, disturbing,

“It’s gonna be a fucking badass action movie with a lot of heart and emotion,” McKay told Collider.

and not just because of the language. While Nightwing is a strong character, there is more to him than that, and he’s also the antithesis of the “beat-up now ask questions later” superhero. Dick Grayson’s greatest strength is his compassion, not his physical abilities. It’s what sets him apart from Batman. It’s what in a very real sense caused Dick to quit being Robin, attend college, date Barbara Gordan, then move to Blüdhaven to be his own man and develop his own hero, Nightwing.

I’d prefer a female director for Nightwing. The character is over-whelmingly popular with female comics readers and female fans, and not simply because of Dick Grayson’s looks or assets filling out his costume. Furthermore, Nightwing’s popularity with women is something that happened organically – suddenly Nightwing was a book that in all it’s guises was being read by women (versions such as the original Chuck Dixon Nightwing series from the 90s, New 52’s Nightwing and later, Grayson, and the current Rebirth Nightwing).

It isn’t simply Dick’s handsome looks, or his butt, or his incredible physical skill and agility that make women “swoon” for the character – Dick Grayson is a character who cares for others, and uses his skills to help them – in long-lasting, impactful ways, whether that’s with his money, or saving someone, or putting a dangerous criminal in jail, or simply being a good listener – to other members of the Bat Family, to his friends, even to strangers. Batman may save a city, Superman may save the planet, Oracle may supply the information the Justice League needs to understand what a villain is trying to do – but Dick Grayson will take the time to stop his landlady from losing her apartment building and home after an earthquake, or help a friend get into medical school on a scholarship, or listen to Tim Drake as he tries to figure out his life, or even stop to give a hurt child a teddybear.

Dick Grayson is a natural carer – and that’s probably a reason that a lot of women like him. So why not let a woman direct the Nightwing film? I will see it either way, and I’m sure Chris McKay will be great (I loved The Lego Batman Movie – I really did) but Patty Jenkins knocked it out of the park with Wonder Woman, and the film saved Warners this Summer. So why not do something different. Why not hire a woman?





Adding My Book and Graphic Novel Reviews – Update 4

Wow, this has been one of my most successful blogging mini-projects, something I’m both proud of and grateful for! I am now caught up on my fiction Doctor Who reviews. My Doctor Who backlog from GoodReads, in terms of fiction reviews (books, graphic novels, Big Finish audios) has now all been cross-posted to WordPress. My GoodReads pages includes all my Doctor Who books, except some of my older, collectible, non-fiction that may have never been added to my account. Anyway, since I have been collecting for so long, many of the books that I have and have read, weren’t reviewed because I read them years before getting a GoodReads account. I will, though continue to post reviews of new Doctor Who books first to GoodReads and then cross-post them here. I have three e-books from the Missing Doctor Adventures line (published by Virgin Publishing) to read and review. I have a lot from Big Finish to listen to and review – both classics that I have listened to before, and new purchases. I also have some Big Finish lines besides Doctor Who, such as the Sarah Jane Smith series, Sapphire and Steel, a few Sherlock Holmes audio plays, the new HG Wells audio play series, and Gallifrey. And I also have the Virgin Publishing New Adventures line (7th Doctor), and the BBC Books Eighth Doctor line (much of which I have read at least once – though with e-books I can now read the entire line from the beginning). And, since it’s obviously a main interest for me – I no doubt will continue to add to my collection. I also recently picked up several new volumes in Titan Comics’ Doctor Who lines, so I have those on my to-be-read shelf.

In terms of graphic novels, I have a few more reviews in my back log to cross-post from GoodReads. I also have a fairly large stack in my to-be-read pile. Also, like Doctor Who, DC Comics, especially Batman has been a major interest of mine for years. I added my entire graphic novel collection to GoodReads a few years ago, but many of the older ones do not have reviews. Besides adding newer books, I have it in my head to re-read some of the classics as well as my favorites and review them.

Finally, but certainly not least, I’d like to thank, and I mean this sincerely, everyone who has read and liked my reviews. Every once it awhile it feels like I’m simply throwing my blog entries in to the great void. The likes mean a lot. Likes and comments are always welcome. So, thank you very much my readers!