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anetteslife:

 

queenofpittsburgh:

katiedora7:

david-john-mcdonald:

dr-napkin-face:

if I ever stop reblogging this… it’s time to delete my blog.

Why.have.I.never.seen.this.before.

David Tennant you are a punny motherfucker


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oodwhovian:

“It’s a love story. I think from the minute he sees her, he loves her and vice versa. It’s by no means a conventional love story.” Christopher Eccleston



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30 Days of Doctor Who: Who is your favourite companion?


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ircnpatriot:

as the next season of doctor who approaches its time for me to wrestle with the question

does my faith in peter capaldi outweigh my distrust of steven moffat


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tardistrouble:

y’all think it’s a coincidence that we went from the variation of a young working class companion and her poc working class boyfriend, a very visibly Not Straight companion, a woc companion and an older, lower middle class companion, to two young, thin, white, well-off middle class companions and also a white middle class boyfriend


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tenlittlebullets:

doktorwer:

Did you really believe that?

 #I love it because martha is all ‘you’re such a fucking idiot’ #and she laughs at the master #she laughs at the fucking psycho who has been destroying earth and who kept her family prisoners #she laughs at someone who could kill her any second #she makes him look like a moron #she takes the power away from him and she turns the tables (via iceinherheart-kissonherlips)

YES THIS IS WHY THIS IS MY FAVORITE MARTHA MOMENT

Also, two thoughts (neither of them new, but I never connected them before) just clicked in my head:

The first thing: Martha is in the Doctor’s role in this episode. Not just that she’s the one saving the day, but TO THE MASTER AS WELL. He puts all his energy into capturing her, defeating her, humiliating her, because he doesn’t want to admit he was ever afraid of her. The Doctor’s spent a year being boring and of no interest to him no matter how hard he prods. It’s incredibly telling that by the end of the year, he’s tormenting the Doctor to try and get at Martha through the people she loves, instead tormenting Martha to get at the Doctor. Martha is the Master’s true archenemy in LotTL, at least for the first three-quarters of it.

The second thing: Mind of Evil. The one thing the Master fears most in the universe is the Doctor laughing in his face.

And when Martha takes on the Doctor’s role, what does she do? THIS GIFSET, YOU GUYS.



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ritchandspace:

tardiswanted:

Ladies and gentlemen, and variations thereupon

You know, I’m amazed that in all my time on tumblr, I’ve never seen a single post appreciating this lady. I mean, do you realise what is happening here?

This is clear and casual acceptance of gender non-conformity in mainstream media. And not only is this in Doctor Who, with an audience of millions and millions of people worldwide, but it’s also set in the future, implying that progress is not only spaceships and interplanetary colonisation, but also in the way of acceptance of identity outside the gender binary.

So yeah, let’s take a moment to appreciate the awesome lady in Doctor Who that was totally chill about trans* folk without making a big show of it. You go, girl*!
(*or gentleman, or variations thereof.)

Russell T Davies wrote these episodes, with these lines:

  • End of the World: Ladies and gentlemen and trees and multiforms…
  • The Long Game: Ladies, gentlemen, multi-sex, undecided or robot…
  • Midnight: Ladies and gentlemen, and variations thereupon…

In Russell T Davies’ futures, gender is always more complicated than today.  

Davies also created Jack Harkness, from a future (the 51st century) where sexuality is fluid (also Jack and the Face of Boe have both been said to carry pregnancies).  

On the other hand the Moffat years gave us this line:

"We’re the thin/fat, gay, Anglican marines: why would we need names as well?" 

Because its so funny and weird that out of hundreds of “anglican marines” in Demons Run in the 52nd century, that a fat guy and a thin guy would be a couple…ok….

And they’re literally credited at the end as “Fat One” and “Thin One”.   They’re purely a joke.

Is that how straight people see us?

Anyway, in the meantime (bringing us back to the original post), the fact that no one knew this Hostess’s name in “Midnight” is considered a major tragedy, because she is a hero.

(The episode also features a character named Sky who mentions her ex with she/her pronouns, and no one makes a big deal out of it.  Its entirely normal, and not a joke at all.)


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The Facts.

jackwillett:

The reason his RTD era stories were watchable.image



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Man can go anywhere. Man picks up hot chicks. Man travels universe. Man fights aliens. Man can change.

Matt Smith (x)

This is Moffat’s legacy.  Man does. Man gets Hot Chick. Man fights.  Man wins.

This quote should disappoint every single viewer who’s followed the show.  Whether you just started marathoning the show or are introducing the show to your children—that quote is not the show.  That quote is Moffat and his narrow vision:  Man does. Man gets Hot Chick. Man fights. Man wins. Man. Man. Man. 

(via its-growth-decay-transformation)

Matt seems to bring up the hot chicks aspect whenever he gets a chance, as noted here.

Contrast that with Eccleston’s stock explanation of the show:

"… at the heart of the series is a great innocence and decency and purity. I believe wholeheartedly in some of the lessons that you learn from the Doctor, about acceptance and greeting strange things with a sense of wonder, rather than fear and aggression. There is, at the heart of it, a celebration of difference. In the end, the Doctor has to deal with the Slitheen and the Gelth, but initially he gives them the benefit of the doubt. I like that. In cynical times, it’s a good, positive thing to make television about."

— Christopher Eccleston, SFX Magazine, June 2005

"For all the danger the Doctor encounters, the basic message of the show is seize life, be optimistic and see the positives. The series is written with passion and humour, and there’s an innocence about it. It’s a kind of celebration of life in all its forms. [The Doctor] doesn’t react with horror when he sees a blue, three-headed monster. He reacts with wonder, and I think that’s a very important message to send out to children."

—Christopher Eccleston, BBC Breakfast interview

And he also repeatedly mentions the importance of Rose as a role model for little girls, for example here.

Enough said.

(via linnealurks)


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For me though, it’s those little one liners that cut deeply. Because remember, the Doctor often forgets the social mores of the time. Who can remember if the way people greet each other is with two cheek kisses or a handshake? He also finds certain human perceptions of the time incredibly odd and dated. But when the Doctor says things like “because she’s a woman” or when he smirks when Clara asks him if he’s making flying the TARDIS easy because she’s a girl, then you get the sense that the Doctor has this perception of women that belongs to the present time. A perception of women that women are fighting hard to erase […] Part of the reason that women are so up in arms about Moffat is that the way he writes women hurts stories and characters with so much potential. A lot of the stereotypes he indulges in are so incredibly unnecessary to the story he’s telling and you wonder why they are there at all. They strain credulity, twist the story and characters in weird ways and he doesn’t really get a whole lot of bang for what’s a very expensive buck.

A comment on Of Dice and Pen: Sexism in Steven Moffat’s Doctor Who? The anonymous reader who sent this to me added:

This is one of the key problems I have with so many forms of Sci-fi media and the anon summed it up perfectly. In a futuristic world, in other universes and on other planets, the presence of today’s sexism is not only just as problematic as it is in any media - it also doesn’t even make logical sense in the majority of cases. Why is the Doctor, a thousand-year old alien who has been just about everywhere and experienced a melting pot of cultures, acting like the sexist old men from down the pub?

One of the reasons sci-fi is a fantastic genre is the pure escapism it offers, and unlike, say, fantasy, it can avoid the “But in the past sexism was present!” tropes and justifications that are often used (see GoT..) with relative ease. But so often it completely fails to do so, the writers unimaginatively falling back on today’s stereotypes - and the missed opportunities to be progressive in such a small way is very disheartening. I don’t know if it’s down to lazy writing or simply being oblivious that doing this is both very problematic andmaking their world less believable, but I can only hope more sci-fi writers manage to avoid this trap in the future.

(via whovianfeminism)


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audreyii-fic:

Wherein Ten continues to bullshit his way through being a Time Lord