Just in case you want to collect my two recent DW edits on one disc, here’s a special double feature cover
When certain events in history happen, people always reflect on where they were at the time.
For me, I recall exactly where I was when Let’s Kill Hitler went out…it had been my parent’s silver wedding anniversary, we had a grand old tea at a swank little inn and many family members came back to the family homestead for a few drinks and a bit of chatter. I had to watch the episode in my bedroom along with my cousin and little brother. At one point, an uncle joined in.
This, for many, is where not only series six went wrong, but you got the distinct feeling DW’s days as the “cool” thing to watch were numbered in the years to come.
It took a year for it to sink in, but this was it. The first post-hiatus episode following the gripping “A Good Man Goes to War” and what did we get? A flipping River Song rom-com disguised as an origin story. If anyone watching the show had a pre-existing distaste for Alex Kingston’s performance, their tempers were not quelled by this.
And yet, I quite like it.
For all the ham, the comedy, the “clever lie” bit which deconstructs the temporal grace of the TARDIS, and the gimmicky misleading title which doesn’t involve the tantalizing time travel conundrum of what to do with Adolf if you met him, it’s a very energetic script, it does offer some insights into what the Silence are, and the Tesselecta is a great concept, albiet more for the time travel modus operandi than ripping off the Numbskulls in the Beano.
I may enjoy a lot of this episode, but make no mistake, this is where series six died a gurning death over the course of 45 minutes and the Moffat era was never regarded in quite the same light again.
You can enjoy something, but you must always be aware of it’s faults so you can understand the side who trash it and not callously dismiss them in the name of the 10/10 club mentality that think the whole series is sunshine and rainbows. You see this all the time in certain Whovian podcasts on Youtube and reaction channels, save for maybe two (Zaredit personally recommends Blindwave and Seskasays for some proper analysis)
Ah, but there wouldn’t be an edit if there wasn’t something to cut now would it? And there was a lot to go, making this, the second of my World War II themed edits, to run at a considerably shorter run time, this one clocking in at 35 minutes.
The episode begins with the way it should have, with Hitler at the front and center of the action. If you’re going to mishandle the furher, at least make it seem like he’s important…set up a bit of a mystery as to what the Tesselecta want with him, and give the Doctor a massively impactful entrance with the TARDIS crashing through…then have the titles come as Hitler, sodding Hitler, thanks our intrepid travelers for saving his life. DUN-DUN-DUNNNNNNNNNN.
Gone too is the creation of the crop circle summons and the introduction of Mels in the stolen car, and the flashbacks to her childhood with Amy and Rory. All you need to know from the moment Mels is released from prison is that she’s a friend of the family, she set Amy and Rory up together, and she’s trouble.
Afterwards, one of the last things to go was the ultimate in time-wasting filler, where Matt Smith does a little bit of self-sabotaging and diminishes the enigmatic performance of his Doctor by indulging in a childish tantrum about guilt and yelling out fish fingers and custard a gazillion times to really emphasize to the whole audience that Doctor Who serves the children’s whims above the adults or the family.
And that’s your lot. Episode ends on the Doctor handing River her diary and the Doctor/Song ‘ship era is well and truly set to sail in a few filler’s time. Hello Benjamin.
When I first approached this edit, I wanted to try and make it appear like Ten did not go through the “he will knock four times” scenario and thus would not have to regenerate. I don’t think the final product was all that stellar, with terrible music cues leading to poor transitions and a rather dodgy narrative in places…so when remounting the project for inclusion on FE.Org, I thought it ought to be a simpler, less radical omnibus edit…which resulted in a much smoother product.
Gone is most of Part One, which has been reduced to just 45 minutes, and we open on Ten and Wilf talking in the cafe, with Ten (channeling RTD) rambling on about how regeneration/leaving the show feels like dying (thus preparing a whole generation of “woke” plebs to write off the show or grow to hate it instantly upon RTD and Tennant’s departure) , all you need to know is that Ten’s been on Earth for a while, and the mysterious connection Wilf has to him drew the two together….and we follow the scene through to it’s impactful conclusion with the reveal of Timothy Dalton’s Rassilon…and then the titles.
After that, we, like the TARDIS, take a step back through time and space to The Doctor being summoned to the Ood sphere and being informed of The Master’s resurrection…only we evade The Doctor and The Master’s encounters with homeless men and Minnie The Menace, and cut straight to The Doctor confronting the energy wielding Master in the quarry.
Three more edits after this, the first a simple joining of part one’s cliffhanger to Rassilon entering his chambers to discuss the perils of the Time War at the start of part two, followed by us skipping him learning about The Doctor and The Master locked in their struggle and learning of Earth. The reason for this is to tighten up the continuity ever so slightly, as it can be rather jarring that we go from Rassilon talking about how The Master would achieve glory for the Time Lords, only to then have their next scene be a flashback to how they learned precisely why. Luckily, I didn’t need to cut so much out of the war room meeting.
After this, it’s all of part two up to when The Doctor leaves Wilf at the church having given Donna Geoffrey Noble’s winning lottery ticket.
I never liked the idea of Ten going back to visit Rose in 2005, even if he kept to the shadows, it was one companion revisit too many and I don’t think The Doctor would want to reopen that void in his hearts knowing he got cucked by her and his doppelganger in “Journey’s End”
There is only one minor plot hole in the whole thing, and that was when Ten talks to Wilf about losing The Master at the quarry..but you can easily explain that away with what you didn’t get to hear at the cafe scene in the opening scene as the two got caught up on things.
If you require a copy, join FE.Org and PM me a request
With a tighter focus on the narrative and the use of footage from Spider-Man: Homecoming, this edit attempts to provide Civil War with more of a mystery behind Zemo’s scheme as well as an alternate introduction to Peter Parker, the Amazing Spider-Man
– Film now opens with Tony talking about the holographic technology
– No romance/flirting between Sharon and Steve
– T’Challa’s introduction as a vengeful Black Panther is not foreshadowed. Scene with Natasha after the Vienna bombing cut.
– Alternative introduction to Peter Parker using Spider-Man: Homecoming footage
– No split between Tony and Pepper (there’s a very good reason for that)
– More mystery to Zemo and his motivations, we only truly learn the extent of his scheming when the characters do
– New mid-credits scene using Homecoming footage.
The shutdown of my Vimeo channel and the purging of many of my edits left me with enough free time to put together a revised version of older ones, and this one has always been a particular favorite.
Mixing together footage from the aborted MMPR fanfilm and material from the Death Battle between the Green Ranger and Ryu, as well as providing an alternative ending borrowed from the previous episode “The Wrath”, this take on the finale of Power Rangers Super Megaforce aims to give the show a bit more action, darkness and sense of definitive closure that the original version was lacking somewhat.
“We picked the mystery box…hop in”
(To download, please join FE.Org and PM Zarius)
I put together a version of this in the past, but with a little more experience and a few new ideas, I’ve chosen to revisit it. Think of this one as the “Page One Edit”, named so because we get to find out just what “page one” and that whole deal with the leaf was all about before the episode ends, rather than wait for a filler pre-titles when you reach Rings of Akaten.
You might think I’m robbing Clara of any and all intrigue by tossing in her origin at the very end of this episode, but not only does her character have very little of that to begin with (as well as any sort of trait to go along with it), I thought it makes for a nice little subversion of the triumphant way the original cut ends, with The Doc having gained a new companion and the thrill of new adventure and mystery on the horizon. Here, he solves the mystery and is utterly perplexed by it. I think that serves as a better ending…don’t leave it with the feeling the Doctor WILL get to the bottom of things, point out very clearly that he CAN’T.
A mystery The Doctor can’t solve makes us worry, and makes us wonder. That is how you kick off a new series of adventures, that is what we call a jumping on point.
In addition to the new ending, I’ve gone in and added the prequel minisode from the series seven DVD as part of the pre-titles. While it’s a little too on-the-nose and doesn’t add much, I still think it’s a nice refresher course if you’re not too familiar with this stretch of the series or Clara.
A few scenes have been rearranged too. Clara accessing the wi-fi now comes before the helpless man’s ominous warning to the internet community, and I removed the whole talk about the Woman Twice Dead and The Doctor’s madness to better seaugeway into him receiving the phone call.