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.
Another edit revisited…with a lot more experience under my belt, I was able to put this together with a bit more finesse.
For those new to the blog, this is a minimalist 30-minute cut of Victory of the Daleks, Mark Gatiss’ first major script for the Moffat era and the second big letdown of the series one episode after The Beast Below. The signs were all there from the two that trouble was brewing, but fortunately the rest of the series was top notch quality and spared such thoughts from manifesting in most fans’s minds until the mass bungling of the latter half of series six.
Victory of the Daleks biggest crime is the New Dalek Paradigm, aka the Teletubby Dalek Rangers…which I couldn’t remove. If I could, I would, I swear[/George Micheal], so I decided to make do with removing the other big misfire of the story…Bracewell, the Dalek-enginerred scientist who “develops” the gorgeous looking Ironside Daleks (why didn’t Moffat keep them on?) is revealed to be a living bomb.
What happens next is a truly despicable bit of emotionally manipulative storytelling where the power of love saves the day for the first time in the Moffat era. It’s time consuming filler designed purely to drag out the Daleks’ inevitable escape and nothing more, so off it goes.
Also gone is the ending with Amy’s crack forming just as the TARDIS dematerializes, just to give this episode more of a one-and-done feel.
Do your worst Adolf!
In preparation for release on Fanedit.org/IFDB, my Day of the Doctor edit Gallifrey Falls is once again available for download on this very blog. Head on over to the Gallifrey Falls article, click on the link, and enjoy
Expect some existing edits to be revisited as well as some news ones, these include
-Shada: A Serial In Five Parts (couldn’t stretch it to six)
-Doctor Who: The End of Time (mostly an omnibus edit)
-Star Trek IV: The Voyage Home…But Everything Goes Right
“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.
Change was coming.
He was coming.
The Doctor. The madman in a box, now even madder than ever before.
He knew it had been on the horizon for a while, the moment he saw his TARDIS join in with the others in co-ordinating the preservation of Gallifrey at the very edge of the time war.
The Eleventh Hour was winding down, however would he break this to Clara?
He would’nt, he would just break, and she would break with him, unless she was fully prepared.
It’s a silly notion he thought, she’s already seen all of me, all of my faces
He wondered if she would continue to see him. See through him, see all of him, the way he ought to be.
He felt this time that everything would hinge on her being able to know who he was, he was a good man, but how good could she be when faced with the reality of change?
That was the challenge facing him and her. Her bravery would be tested like never before. It would be a most trying Christmas for her, adjusting to the shock of the new, coming to terms with the loss of someone he knew she cared deeply about, and taking in the fresh coat of paint.
The truth field around Trenzalore compelled him to come clean about the consequences of regeneration, how the process can startle even the most well prepared individual, and how it can be the making of that person if they can adapt.
He knew Clara could adapt, he felt it, just as he felt everything come apart, he knew in his ancient bones that the Impossible Girl could make all things possible.
He would die, he would change, and if he were to live again, it had to be through her eyes. He had to be taught through her eyes.
He pondered aloud if he had chosen Clara knowing sub-consciouslly her career would take her into teaching.
He stared up at the burning belltower, he looked on at the wreckage of the Dalek mothership, he smiled, he could hear hyms being performed inside the church, the music tinged with a compelling sadness.
It made sense, he had caused a lot of damage with his regenerative energy in a bid to save the town of Christmas.
A part of him wondered if he was truly finished with Trenzalore as he picked up the TARDIS phone and dialed Clara’s number. He wondered if he had contributed to massive paradox by averting his fate here, or if the planet was always waiting for him in his twilight age, whenever that would be, however that would come.
Nothing can prepare you for death, so his mind was concentrated on preparing himself, and Clara, to live.
Time enough he thought.
A 45-minute trim of the 2012 Doctor Who Christmas special The Snowmen.
Christmas is coming, and if the Great Intelligence has his way, so is eternal winter. Sentient and savage snow is descending, eager to consume us all, can The Doctor, the Paternoster Gang, and nanny Clara save a family from the merciless lady of the lake?
No comedic banter between 11 and Strax in either of their two big scenes together
– No One Word Test Scene
– The Doctor and Clara’s first meeting shortened (no “two words”, no drawn out scene with the memory worm)
– Clara does not visit the cloud on the first try
– As with my “Wedding of Sarah Jane Smith” edit, the End Credits have been removed (they go by quite fast and look very blurry) and I use the shortened Tennant end theme for the outro.