Show Analysis - Tumblr Posts

Scrumptious addition!

WOW. OK. I just finished the S3 Ep2 of Moral Orel, “Innocence” and it suddenly clicked for me.

People were making the observations about how Orel seemingly just goes out of his way to interpret all of the lessons he’s given in the least charitable and most nonsensical way. And for the first good part of the show you think this is just the function of an over the top comedic bit for the formula of each episode. It’s so easy to ask how on earth a seemingly kind hearted, well meaning kid like this can be THAT devoid of the basic logical implications of what he hears, or any common moral intuition that virtually everyone has, right?

Orel’s not a stupid kid. But the entire problem with him up to the point thus far is that he legit DOES NOT in fact have that intuition we expect most people, even children to have. That knee-jerk repulsion to obviously harmful actions. That really vital sense of conscience. No, I don’t mean he’s some kind of psychopath, I mean that Orel has never had a functioning moral compass modeled to him to begin with. His ethical axioms are ALL rooted in divine command theory. To put it simply, he doesn’t believe “god is good”, he believes “good is only what god says is good”. Most Christians, hell, most religious people generally do not literally, consciously operate in this way, and usually even the ones that do are (mostly) still functionally average people, because usually they were at least consistently conditioned to believe that axioms like human well-being are what God commands. To at least a fortunate degree, human empathy and socialization usually is allowed to and even encouraged to develop under mainstream religious upbringings.

You notice the glaring difference though when you see what happens to people who are molded entirely by Divine Command Theory and then become convinced that their God’s divine command is something that doesn’t happen to line up with conventionally good ideals, like those given earlier. This is what destructive cults do. This is what makes crusades. This is what causes anti-sodomy laws and stoning people to death for eating the wrong kind of fish or not wearing the right clothes to happen.

Understand that this is the hinge that Orel’s whole sense of right and wrong up to this point swings on. What it means is that this little boy can, and will, justify or excuse any and all directions given to him so long as he trusts the adult talking to him as someone who speaks for God. This combined with his craving for approval, plus the fact that he’s also had it drilled in his head to never question or doubt his elders’ wisdom makes for a child zealot that is dangerously easy to manipulate to do ANYTHING and with fanatical determination. It is less than no additional help that the Puppingtons (and the majority of the townsfolk) have never been golden examples for healthy social modeling, as well. Like, sure, he’s getting glimmers of actual goodness in there such as the Jesus loves you so love yourself and help thy neighbors messaging, but it’s being inconsistently contradicted by and juggled alongside at same hierarchical importance as “lessons” like beat the shit out of people who make fists, kick out the brown people, and you should be terrified of the same authority you expect safety and comfort from. Why on earth is it shocking that Orel seemingly has no sense of scale or priority when it comes to the rules? The rules he’s given are subject to constant and chaotic updates and are all treated the same gravity. Follow X and you will be promised infinite reward. Disobey X and you will be met with infinite retribution. Not just even in a spiritual heaven and hell sense, but here in life too. Clay delivers the same punishment for getting hooked on crack or becoming a serial rapist that he does for the “sin” of using slang vernacular and meditating to relieve stress.

Everything that defines his life and virtues is a matter of constant anxiety and eagerness in order to appease a patriarchal tyrant that is portrayed as both ultimately benevolent and wise,

yet incredibly vindictive, sadistic, irrational, and petty.

And I don’t think it’s a coincidence that this description can equally apply to Moralton’s perception of God and a certain alcoholic father.

No kidding when I say that Orel has so little consistent  input to actually steer him in the right direction that it’s incredibly sad, to the point where he’s extremely fortunate to actually have such an optimistic and compassionate inclination at all. It only seems ridiculous how he can’t see obvious suffering and even personal detriment as any red flags to hesitate or question an action, until you remember that he’s so been domestically broken by Clay and his church that his Pavlovian response to pain is either gratitude, mild inconvenience, or fucking masochistic euphoria.

Nonetheless, all of this only backfires on every adult in Moralton because the one thing they can’t control or account for 24/7 is exactly how he interprets what they say, even when he’s trying his best to follow their command. It’s like a twisted Amelia Bedelia situation with him that no one actually wants to deal with, even though they all (except probably Stephanie) collectively played a part in creating this monster.

Censordoll was the first one who was smart and ambitious enough to see the potential for Orel’s blind subservience to be weaponized, and of freaking course she was.

Thing is, you bet the ONLY reason she stopped was because she also lost control of him, and we all know what the consequence of that was. He unintentionally yet absolutely destroyed her in the only weak point she has, yet exactly like Clay did during the “turn the other cheek” incident, she trapped herself in a situation where she couldn’t swallow her own pride in the name of reversing the damage.

What I guess I’m explaining here is that Orel’s collection of constant shenanigans, unknowingly, yet effectively, is literally a manifestation of the community’s own complete moral bankruptcy biting them back in the ass, and possibly even a divine punishment for it, depending on how you interpret the writing. Which is a HELL of a phenomenal, subtle twist to his whole premise that doesn’t abandon the original joke/satire, but instead builds upon it and adds a chasm of depth and intention.

Hot DOG~!

WOW. OK. I just finished the S3 Ep2 of Moral Orel, “Innocence” and it suddenly clicked for me.

People were making the observations about how Orel seemingly just goes out of his way to interpret all of the lessons he’s given in the least charitable and most nonsensical way. And for the first good part of the show you think this is just the function of an over the top comedic bit for the formula of each episode. It’s so easy to ask how on earth a seemingly kind hearted, well meaning kid like this can be THAT devoid of the basic logical implications of what he hears, or any common moral intuition that virtually everyone has, right?

Orel’s not a stupid kid. But the entire problem with him up to the point thus far is that he legit DOES NOT in fact have that intuition we expect most people, even children to have. That knee-jerk repulsion to obviously harmful actions. That really vital sense of conscience. No, I don’t mean he’s some kind of psychopath, I mean that Orel has never had a functioning moral compass modeled to him to begin with. His ethical axioms are ALL rooted in divine command theory. To put it simply, he doesn’t believe “god is good”, he believes “good is only what god says is good”. Most Christians, hell, most religious people generally do not literally, consciously operate in this way, and usually even the ones that do are (mostly) still functionally average people, because usually they were at least consistently conditioned to believe that axioms like human well-being are what God commands. To at least a fortunate degree, human empathy and socialization usually is allowed to and even encouraged to develop under mainstream religious upbringings.

You notice the glaring difference though when you see what happens to people who are molded entirely by Divine Command Theory and then become convinced that their God’s divine command is something that doesn’t happen to line up with conventionally good ideals, like those given earlier. This is what destructive cults do. This is what makes crusades. This is what causes anti-sodomy laws and stoning people to death for eating the wrong kind of fish or not wearing the right clothes to happen.

Understand that this is the hinge that Orel’s whole sense of right and wrong up to this point swings on. What it means is that this little boy can, and will, justify or excuse any and all directions given to him so long as he trusts the adult talking to him as someone who speaks for God. This combined with his craving for approval, plus the fact that he’s also had it drilled in his head to never question or doubt his elders’ wisdom makes for a child zealot that is dangerously easy to manipulate to do ANYTHING and with fanatical determination. It is less than no additional help that the Puppingtons (and the majority of the townsfolk) have never been golden examples for healthy social modeling, as well. Like, sure, he’s getting glimmers of actual goodness in there such as the Jesus loves you so love yourself and help thy neighbors messaging, but it’s being inconsistently contradicted by and juggled alongside at same hierarchical importance as “lessons” like beat the shit out of people who make fists, kick out the brown people, and you should be terrified of the same authority you expect safety and comfort from. Why on earth is it shocking that Orel seemingly has no sense of scale or priority when it comes to the rules? The rules he’s given are subject to constant and chaotic updates and are all treated the same gravity. Follow X and you will be promised infinite reward. Disobey X and you will be met with infinite retribution. Not just even in a spiritual heaven and hell sense, but here in life too. Clay delivers the same punishment for getting hooked on crack or becoming a serial rapist that he does for the “sin” of using slang vernacular and meditating to relieve stress.

Everything that defines his life and virtues is a matter of constant anxiety and eagerness in order to appease a patriarchal tyrant that is portrayed as both ultimately benevolent and wise,

yet incredibly vindictive, sadistic, irrational, and petty.

And I don’t think it’s a coincidence that this description can equally apply to Moralton’s perception of God and a certain alcoholic father.

No kidding when I say that Orel has so little consistent  input to actually steer him in the right direction that it’s incredibly sad, to the point where he’s extremely fortunate to actually have such an optimistic and compassionate inclination at all. It only seems ridiculous how he can’t see obvious suffering and even personal detriment as any red flags to hesitate or question an action, until you remember that he’s so been domestically broken by Clay and his church that his Pavlovian response to pain is either gratitude, mild inconvenience, or fucking masochistic euphoria.

Nonetheless, all of this only backfires on every adult in Moralton because the one thing they can’t control or account for 24/7 is exactly how he interprets what they say, even when he’s trying his best to follow their command. It’s like a twisted Amelia Bedelia situation with him that no one actually wants to deal with, even though they all (except probably Stephanie) collectively played a part in creating this monster.

Censordoll was the first one who was smart and ambitious enough to see the potential for Orel’s blind subservience to be weaponized, and of freaking course she was.

Thing is, you bet the ONLY reason she stopped was because she also lost control of him, and we all know what the consequence of that was. He unintentionally yet absolutely destroyed her in the only weak point she has, yet exactly like Clay did during the “turn the other cheek” incident, she trapped herself in a situation where she couldn’t swallow her own pride in the name of reversing the damage.

What I guess I’m explaining here is that Orel’s collection of constant shenanigans, unknowingly, yet effectively, is literally a manifestation of the community’s own complete moral bankruptcy biting them back in the ass, and possibly even a divine punishment for it, depending on how you interpret the writing. Which is a HELL of a phenomenal, subtle twist to his whole premise that doesn’t abandon the original joke/satire, but instead builds upon it and adds a chasm of depth and intention.

Hot DOG~!

Lockwood/Kipps rivalry analysis:

In the show and the books Kipps mentions something along the lines of how “everyone leaves him in the end”. In the books we get the added note of Lucy hearing something in his tone that she “couldn’t quite understand” or something like that. As well as in the show Kipps’ comment about Lockwood in that “big empty house”.

I think they were close as kids, but given that he was closer in age to Jessica he was probably closer with her. Maybe they were dating. Regardless, I bet Kipps was on good terms with all the Lockwood’s. Anthony Lockwood probably even looked up to him. He might have even wanted to join Fittes because of him.

So (spoilers), when Jessica died although he was older, Kipps was still a kid himself. Again, if Jessica and Kipps were dating, I doubt they broke up. Not that I know what it’s like, but not being in a relationship anymore, not because of anything you or the other person decided, but because one of them died, well, I’m sure that sucks.

Basically in his grief I don’t think Kipps knew how to handle everything. Especially his anger. So he took his misplaced anger and directed it on Lockwood. Kind of messed up, but people are like that sometimes.

As for Lockwood I’m sure he didn’t know how to handle it either. What could he do?

But I’m sure what makes it hurt even more is that after losing his parents and now his sister what would probably have been good for him is having someone to talk to. Or check up on him.

That could have been Kipps. They both lost someone, but grief isn’t fair. And if Kipps was there for Lockwood, who would be there for Kipps? They could lean on each other for support, but given the age difference it would be on Kipps to be the strong one. But that didn’t happen. And the way they both handled it probably made them hurt more.

I imagine that over time, Lockwood started to feel angry towards Kipps too. That he felt like death took his family from him, but Kipps just left.

So when Kipps shows up in the library and says “everyone leaves him in the end.” I think that if Lockwood was a different type of angry he could’ve said “what? Like you?” Cause he was the only one who actually left. Everyone else died.

I think over time they worked through it on their own and maybe they have yet to have a proper conversation about it, but I think they’re doing better with room for growth.

I also think their rivalry has nothing to do with Lockwood poking Kipps in the butt with a rapier.

Love this analysis and that I helped inspire it

Ok, saw a post by @hernameslucy, and it activated alll the Kipps brainworms. Turns out that I have a loooot of thoughts about the idea that Kipps had a relationship with the Lockwoods/Jessica and at least in part blamed Lockwood for Jessica's death. I find it compelling, but also when you draw out all of the implications it is so incredibly, utterly devastating. Anyway here's my very long analysis of how the Lockwood and Kipps rivalry might have come about (in addition to the cannon poke to the bum with a fencing foil...). After Jessica's death, I could see Kipps in the moment as a grieving teenager blaming Lockwood, and that would be painful for Lockwood on multiple levels. He’s losing out on whatever support Kipps might have offered him otherwise, and it reinforces Lockwood’s own shame around his culpability in Jessica's death. That brings this really complicated edge to Lockwood’s feelings towards Kipps because you have both a very real and very deep grievance (he would be very rightfully angry at Kipps for blaming him for something that really wasn't in his control) and also a reminder of his biggest regret (not being present when Jessica broke the vase).

This second point is where you have Lockwood projecting some of his own emotions onto Kipps. At the beginning of the series Lockwood does blame himself, and he's also very much running away from that feeling. When he finally shows Jessica's room to Lucy and George he lies about where exactly he was at the time because he's not ready to confront that shame, and there's likely a small part of him that is convinced that they will blame him as well (since there's a part of him that believes they rightfully should). Before Lockwood tells Lucy his full account of the day and in part acknowledges his own feelings of culpability, he's still very much trying to bury and push away those emotions. If Kipps really did blame him, that would make Kipps a very difficult person to be around because his very presence reminds Lockwood of the shame he's been avoiding.

On top of that, I think at that point in Lockwood's emotional arc there's likely a part of him that sees Kipps as the person that has the most clear-eyed view of him. The fact that Lockwood blames himself for Jessica's death and has acknowledged that fact to no-one would likely leave him with this feeling that he's actually lying to the important people in his life (among other things, this is supported in the show by Lockwood's line to Lucy that "there are things that I haven't told you about myself that are probably for your own good").

With Kipps being the only person who knows what Lockwood believes to be a terrible truth about himself, he could very easily become a place for Lockwood to externalize his own shame. Any attempts to prove Kipps wrong could be read as just as much an attempt to prove wrong his own worst judgments of himself. As for Kipps, I think an initial response of anger towards Lockwood is difficult to take but understandable. What's harder for me to reconcile is that over the years Kipps would continue to hold onto the belief that Lockwood really was at fault for Jessica's death. He's enough older that I think after the initial intensity of the grief passed, he would likely feel a bit ashamed for having blamed a child for something so clearly out of their control. As for why he would continue to antagonize Lockwood years later, I can think of a few possibilities.

The saddest of them is that he simply allowed his shame to curdle. Instead of acknowledging his fault, he doubled down on externalizing his emotions onto Lockwood. Clearly Lockwood had to be at fault because otherwise Kipps would need to fully acknowledge what he had done in placing the weight of blame onto a grieving child. I don't like this explanation as much because 1. I think Kipps is more compassionate than that even from the beginning (we stan one (1) Quill Kipps in this house) and 2. I don't think that this is a kind of hurt that could just be gradually smoothed over without some kind of reckoning between the two of them.

I think what's more likely is that sometime before the events of the series, Kipps did try to repair his wrong and Lockwood lashed out at him. Again, I think that Kipps would still be in the wrong in this situation both as the older of the two and as the party that added insult to injury. However, Kipps is also still a grieving teenager too, and in this instance he's coming to Lockwood with some vulnerability, admitting wrong and also likely seeking out company and commiseration in his grief. He's doing a difficult thing while also nursing his own grief, and he's met with coldness and anger. That would be hard to take.

This kind of hurt I could see slowly fading over time as they develop a relationship, since it places them on something closer to level footing. I still think they would have to acknowledge it at some point, but it also seems possible that that's just something Lucy was never privy to.

I like episode four, Sweet Dreams and episode seven, Mesmerized.

And I like them both because we get to see a little bit into Lockwood’s character. Like more in depth.

In episode four after Lucy says she can talk to the skull and she brings up the room that Lockwood keeps hidden. And Lockwood ends up yelling at her. It’s like one of the only times he really loses it and yells.

And afterwards when he apologizes, along with it being a cute Locklyle moment, he also talks about his past. This is the most he’s opened up so far, even if it’s not specific. Says that he was orphaned at a young age and “that’s what’s behind that door”.

So not only is he being vulnerable, which I imagine is something very hard for him to do given everything that has happened in his life, but he’s also using that vulnerability to say ‘I believe you’.

He apologizes for yelling and how he reacted. And says that he believes her “about everything”. That is such a big thing in my opinion. Not to get too personal but something like that — to be believed in — I think it’s underestimated how important that is.

Basically, it’s a really nice moment for Lockwood. He really opens up there. And I also think Lucy takes it well. She doesn’t push him to tell her more. She allows him to say what he’s comfortable with. She listens (cause she’s a Listener. Get it? Yeah, that was unintentional). She acknowledges what he’s saying and doesn’t push for more.

And on top of that, Lockwood saying he would shine his spotlight on her! Lucy hears him. While Lockwood sees her! I love the similarities there!

It’s also kind of why I like episode eight, Mesmerized. When Lockwood takes things too far again and gets someone else hurt (killed) and ends up having a panic attack. I think this again shows his character. Shows what he cares about. That when he’s no longer acting like everything’s in control (cause it’s not) what happens when that breaks. It kind of exposes what kind of person he is.

He’s a kid. He’s always trying to prove himself. To others and to himself. That he’s capable and talented and whatever else. Then someone, an adult, had to make a terrible adult decision based off of Lockwood’s decision.

Breaking down because of regret or empathy he feels towards that agent shows that he cares. And it reminds me of episode three, Doubt Thou the Stars, when he says “come on Luce, I’m not a monster”. I mean, he was kind of joking, but it makes me wonder if he genuinely fears that sometimes. Once again showing his character.

And how his panic attack was handled by Lucy I think was nice too. Like there is never a good time to have a panic attack and running for your lives seems like an especially bad time. So despite being terrified herself. Trying to drag them both out of the way of danger while still trying to be gentle and forceful when stepping in front of him and telling Lockwood to look at her. As well as reassuring him that he made the right decision. That the bone glass is too important.

And at the end when they are finally safe for the time being. Lucy is now safe to feel her feelings. Those feelings being anger, mostly. So she did help Lockwood, but now he needs to start holding himself accountable to be “just reckless enough”. And I think episode eight helped him realize that.

Okay, wow. That’s it. I had a lot more to say than I thought. Thanks for the assignment this was fun. Obviously not a professional english paper though. Hope that’s okay.

tell me what your favorite episode of lockwood and co is and why. this is now your english assignment GIVE ME YOUR EVIDENCE AND ANALYSIS

I always thought of Lockwood as being decently professional with adults or clients, but now that you mention it I can see how he may sometimes come across as “rude”. Especially if someone brings in a case he thinks is below their skill level. Which is when Lucy has to remind him that it’s not. And it can go the other way around too since Lucy isn’t as good at small talk or pleasantries and Lockwood is.

Love the analysis op. It’s cool that we have the same favorite episode.

tell me what your favorite episode of lockwood and co is and why. this is now your english assignment GIVE ME YOUR EVIDENCE AND ANALYSIS

FACTS.

“The Crocodile”

Okay. I was typing a reblog and it somehow became a rant/spiel, so I’m making a whole post about it.

“The Crocodile” Episode? I know a this isn’t exactly an unpopular opinion, but I’mma say it anyway.

Hook and Milah. Had. It. COMING.

Granted - Hook became cool eventually. But I hated him for a LOT of the series on the grounds of his first impression alone.

Like it’s one thing to run off with a man’s wife. Rumple and Milah weren’t in love and the marriage wasn’t a good one. She put zero effort into their family and taking her off their hands may arguably have been better for everyone.

Seriously. Fuck Milah.

Spinner Rumple tried so hard to be a good husband and father, or at least to make their family work in a loveless marriage, and he deserved better.

But in spite of that, what Hook did to him on the ship crossed so many lines and he totally deserved to get owned for it.

Let’s review:

Concerned husband boards a pirate ship to beg for his wife back, thinking she’s been abducted. Right off the bat: That right there took courage. It always pisses me off when OUAT characters call Spinner Rumple a coward, because he really wasn’t. The world put him through it and he was doing his damn best. Just showing up to the ship of bloodthirsty pirates, knowing that literally all he could do was beg and hope for the best, took guts.

Back to Hook. So this poor guy shows up to ask for his wife back unharmed. And shy of actually hurting Rumple, Hook decides to do quite possibly the cruelest thing he could have done:

Keep letting the spinner think that his wife had been taken against her will and that she was being raped by the whole crew.

If Milah was in on the lie, then in my opinion SHE was the cowardly one here. Not Rumple. You want to abandon your disabled husband and son to run off and live the high life with a pirate? Own your shit.

But no. Instead they pushed the blame onto Rumple and gaslit this poor man into thinking it was somehow his fault.

Yeah - Rumple didn’t pick up the sword when Hook challenged him to a duel over Milah. But let’s think about that for a sec shall we?

We have Rumplestiltskin: An older wool spinner with a disability. Who can’t walk all that well WITH his walking stick - much less without it, on a boat, and during a fight with a sword. Which he’s barely held in his life unless you count the crash-course he got as fodder- I mean a new recruit, when he was drafted into the Ogres War.

Versus Captain Jones: A younger, taller, stronger pirate. An experienced swordsman, comfortable on a ship, and with two good legs. AND with a loyal crew of OTHER strapping pirates who would probably kill Rumple even if by some miracle he DID take Hook by surprise or something.

So really, Rumple had two options here.

Option A: Refuse to fight the bloodthirsty pirate, leave with your life but without your wife, and return home to your now motherless son.

Option B: Fight the bloodthirsty pirate, probably die or at least get badly injured (which could be death within a few days-weeks anyway given his financial situation and living conditions), the pirate takes your wife anyway, and your son is left an orphan who may or may not ever know what happened to you.

So there was no realistic scenario here where he fights off the pirates like a dashing hero and carries his wife home.

What else was he supposed to do?!

Rumplestiltskin is extremely smart. He always was. He knows when to pick his battles and he would have known all of that at a glance.

Refusing to fight wasn’t cowardice. It was common sense.

And yet Hook, this mothafucka, who must have realized all of this too and put Rumple in this situation in the first place, had the gall to act disgusted about it when Rumple refused to “fight like a man.” And then gaslit him into thinking that he was a coward and a fool for making what was obviously the more rational decision.

Now Hook is a pirate. I never would have expected much from him. But that’s no excuse. What he did was fucked. And karma is a bitch.

Stupid Game = Stupid Prize

And yes I know this is a pretty commonly held opinion so it shouldn’t be new to anyone but I rewatched that episode recently and needed to get this off my chest. 😤

My top 5 Doctor Who Episodes; And why!

DOCTOR WHO SPOILERS UNDER THE CUT!! I say the season and episode before I start analyzing, so feel free to skip some.

5. Vincent and the Doctor [5x10]

This episode was so touching to me on many different levels. Firstly, as a creative person who deals with mental health and ostracization, seeing a version of Vincent Van Gogh on screen felt almost healing. Acknowledging the hurt he experienced while not ignoring his joys was very special. On a technical level, the way that the episode visualized a way Vincent Van Gogh may have seen the world was incredibly eye opening and better allowed me to appreciate his art. Furthermore, the confusion Amy experienced during the episode regarding her memory was such an experience for two reasons; Firstly, it proved to us, the audience, how much she has grown to love Rory. Before, she was dating him because he was the only half-decent guy around. But, after learning more about him and spending more time with him, she is truly in love with him and this episode gives proof of that. Secondly, I experience dissociative fugue, wherein I may forget large aspects of my life, and this episode was so comforting regarding that experience. Yes, sometimes there are things you can't remember that make you happy or sad. You should embrace the feelings rather than ignore them or feel scared. And, finally, the moment where Vincent Van Gogh is able to see what the future of his art holds is a touching moment; and I like that it didn't save him in the end. Like the Doctor said, “The way I see it, every life is a pile of good things and bad things. The good things don't always soften the bad things, but vice versa, the bad things don't always spoil the good things or make them unimportant.”

4. The Husbands of River Song [2015 Christmas Special]

I looked forward to finally watching this episode for so long leading up to it because I had heard such flattering things about it; and it didn't disappoint. After many episodes that felt lacking or one dimensional, this special brought back an element of camp, humor, and fun that had been missing, all the while including beloved characters and dramatic sequences. Allowing the Doctor an opportunity to see how one of his companions, especially River, acts when he is not around gives the audience so much more insight into her character and the Doctor a chance to learn and grow. Asking her about himself and learning that, although she may be worried or grieving, she finds these feelings worth it just to keep loving him. Considering how much River puts a mask on around 11 to not show her age and sadden him, it was refreshing to see a new side of her. Not to mention, the storyline for the special was interesting and compelling without being overwhelming in a way that took away from the characters. Although it's unlikely that the Doctor doubted River's feelings for him, this episode gave ultimate proof regarding how much she cares about him. Unfortunately, it also showcases how little River thinks of herself in relation to the Doctor. And, yet, there 12 is to prove her wrong when it mattered. Best of both worlds! Finally, the tenderness mixed with grief and understanding that we end the special with is such a perfect conclusion to River's story with the Doctor as it reflects their whole saga together perfectly. River's argument to the Doctor that, "Happily ever after doesn't mean forever, it just means time." was so special and the Doctor finally allowing himself to settle down (if only for a little bit) was exactly the kind of growth the character needed.

3. Wild Blue Yonder [2nd 2023 David Tennent Special]

I watched this episode yesterday and by gods it quickly skyrocketed to one of my favorites, where do I even start. Within the first few minutes of the episode, we are given many similarities and differences when comparing this Doctor and Donna adventure to their previous excursions. While they still compliment each other well, offering understanding and push-back, it is also clear the ways they have matured. Donna seems more in touch with her emotions and how she is truly feeling. When we first met her, she had a lot of anger and frustration within her from constantly being scrutinized and ignored. Now, we can see she is more peaceful and secure, even if below the surface some hesitation still lingers. Whereas, in the Doctor's case, he is so much more open to affection and vulnerability. The lessons he learned as 11 and 13 showed him that he could trust others, even if it is slowly. Although he is still trying to ignore or repress many things that have happened to him, he is at peace with them more than he was as 10. They both are less rageful. So, from a literary standpoint, just the beginning of this episode was wonderful. The classic "TARDIS fucks off somewhere leaving the company stranded" and "Doctor loses his sonic screwdriver and doesn't know what to do with himself for a bit" tropes came back swinging, and the way it affected the duo was wonderful to watch. The reality of the situation wasn't quickly swept under the rug or ignored because of a bigger problem, they got to sit in their fear for a while which was beautiful. The slow realization throughout the episode as if the audience is figuring out the answer at the same time as the Doctor just felt satisfying. Small, seemingly disconnected things coming together to form a compelling mystery. And, because it takes so long to give us the answer, we feel the carnal fear of the unknown just like the Doctor and Donna. I was tense when I realized they weren't talking to each other, but copies. I was scared when they were separated. And, the best part of the whole fucking episode, I didn't know who was who. That was terrifying! Up until the last second, I thought the Doctor had made the right choice, too! It kept me on the edge of my seat, informed me so much about the characters, explored a terrifying "what if" in a way only sci-fi can replicate, and was silly as hell. Loved every second. Also, the little robot guy was cute as hell.

2. Heaven Sent [9x11]

Explodes everywhere I love 12. This Doctor is characterized as a less nice, but still very kind regeneration. He holds so many conflicting feelings regarding the loss of the Ponds, his changing relationship with Clara, his perception of himself. I loved how he acted in his episodes. as socially confused, because it felt very familiar to me. The way his brain always seemed too loud and his loner energy was such a switch-up compared to 11. and yet so in character all the same. This episode carried this perfect essence of Doctor Who that felt lost in the majority of the last couple seasons. An entire episode where the Doctor is alone, and grieving, and loving, and problem-solving all at the same time was so compelling. Although it is clear I am more of a fan of episodes that focus on the characters and not the current storyline, this story was enthralling even if it took away from character moments sometimes. Do I wish we had more chances at the beginning/middle of the episode to properly address or reminisce about Clara? Yes. But, after watching the whole episode, it is clear why it was done. The setting for Heaven Sent was so intriguing, and the whole episode we are just wondering as much as the Doctor is; Why? Why is he being chased, why was he brought here, why are there shovels? It reeled us in. And then, once we realize the torture he is putting himself through, the dramatics, character information, and emotion we are given is so heart-wrenching. Evidently, Clara gave the Doctor a comfort greater and worth more than 5 billion years of torture. Could you imagine that? The depth of his love for Clara is given so much of a spotlight in this episode, and I am frothing at the mouth for it. Especially considering how they may frustrate or hurt each other, they still know each other. They help each other. And goddammit, he is not going to let her go. But, this stubbornness isn't necessarily a good thing. One important thing about loving someone is knowing when to let them go. This love for Clara was selfish the same way her love was for him in these intense moments where they sacrifice themselves for each other. They were doing it to prove something to themselves, to get the other back because they couldn't accept they were gone, not because it would be a better existence for the one in danger. Clara didn't want to be saved, she was being brave. And this imperfect grief the Doctor experiences was so achingly realistic. When I lost my cousin, it was so hard to accept. I wanted to ignore it, I wanted to be angry, I wanted him back. But, in the end, it was his time. This journey the Doctor goes on regarding yet another loss felt so powerful. He was forced to feel this and it hurt, he couldn't just try and quickly forget about it or sulk on his own terms. At the same time, the revelations he comes to throughout the episode were so reassuring to hear someone outside of my own head say. "It’s funny. The day you lose someone isn’t the worst. At least you’ve got something to do. It’s all the days they stay dead."

Turn Left [4x11]

This comes as a surprise to no one as someone who has been PREACHING character > story. This episode, while being a perfect set up for the finale, tells us so fucking much about the Doctor and, more importantly, ABOUT DONNA! Without Donna, there's no Doctor. Without the Doctor, everything goes to shit! Seeing as we, the audience, are usually seeing the universe by following the Doctor, a companion-focused episode was so refreshing. We got to learn so much about who Donna is, what her life back home was like before we met her, and gave realistic consequences to her actions. FUCK YEAH! It felt grounded, it felt interesting. I also adore the theory that every action we take splits us off into a new universe or timeline, so this episode was so perfect for me. DONNA'S INTERACTIONS WITH ROSE!!! Their comradery and understanding, the way Rose takes Donna under her wing, a moment where we see them as real people without the Doctor intervening or affecting the discussion. The importance of Donna to the universe being made so clear. WILF'S FLASHBACKS!! It's been forever since I saw this episode, but it is so rewatchable and makes me so interested every. single. time. The end of the episode is bone-chilling, with her literally killing herself to save the universe. And then!! The Doctor being out of the loop for once and understanding the severity of the situation with the return of the Bad Wolf. Explodes everywhere, words do not do justice the pure love, respect, and admiration I have for this episode and every actor, producer, tech person, writer, involved. Thank you GODS for this episode, I love you turn left. This lesson that every single person is indispensable and important sets up that conversation in later seasons and eventually becomes the main reoccurring theme of the show. Every Donna Noble, Rose Tyler, and Martha Jones of the universe is important and loved and unique and dbiubibjbjbgiufgbfgu you get me?

Honorable mentions:

The Parting of Ways [1x13]

The first finale of new who, and it was so gooooood!! Tied up the Bad Wolf hints, gave interesting endings to the TARDIS crew, told us so much about the ninth doctor, gave us confirmed ninerose, had a compelling storyline behind it, and just a classic good episode to go back to.

Tooth and Claw [2x2]

I know I've been mostly talking about the character implications of my favorite episodes, but this one was just interesting and fun. I loved the dynamic between the Doctor and Rose, the adventure, the silliness, the royal family being involved. Just a good, well-paced, wonderful episode.

The God Complex [6x11]

This episode was so yummy. While I was watching 11's seasons, I did get the vibe that Amy looked up and admired the Doctor in an unhealthy way and I loved how this episode addressed this. The idea that this thing was taking the forms of people's worst fears, the mystery of what the Doctor saw, the interesting characters, the understanding on what a God Complex actually was, its wonderful!!

The Timeless Children [12x10]

This may be controversial and I don't care!! I loved the way this episode was structured. I was confused and interested the whole time and when it fell into place I actually had to pause and pace around because OH MY GODS!!! it was a well-done reveal that had such interesting implications and I believe every reaction was in character and made sense. At first, I was upset about the loss of the former perception of the Doctor; Just a regular ol' guy who decided to act out and, above all, be kind. Suddenly, she was from another universe and was the original timelord and i was a little sad. But, the way it has been handled after feels so fitting, and it puts the rest of the show into perspective. All of the confusing things that set the Doctor apart from the others, it made sense now! I loved this episode, I thought it was a great.

The Village of the Angels [13x4]

I LOVED THE FLUX!! getting to have a old-school style season wherein the who season was just one problem was so cool and allowed for so much information! This episode specifically was so compelling. I loved the Professor Jericho; was SUCH a great addition to the TARDIS crew, and the way the handled the angels was arguably better than Time of Angels + Flesh and Stone. They were terrifying, the mystery was intriguing, and the characters were interesting!!! The only difficult part of this episode was keeping track of who was who as someone who has difficulty recognizing faces. Besides that, I fucking loved The Village of the Angels.