Script of GitF or as much as I can stand of it:
My brothers in Christ, I don't know how far I'm going to be able to get, but I will try.
And here we go, because anyone above 30 can't be a thrilling beauty.
Gee, think Moffat had a thing for Reinette?? "cleavage that could start a war..."
Also, Moffat likes to use exclamation points. Like, a lot. Like it's sounding sadly desperate, how much he's using exclamation points to describe the action.
Oh, you have got to be KIDDING me!
Ok, honestly, it wasn't as bad as I had thought--mainly because I can read fast. So, basically this all confirmed what we all knew: Moffat hates Rose and has no fucking clue.
Now I'm properly pissed off enough that I might end up having to give my contribution to a fix-it fic for this episode. God knows, I can't do any worse than Moffat.
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HEY TENROSE/TIMEPETALS SHIPPERS
Remember that moment from the end of Girl in the Fireplace when the Doctor reunites with Rose and asks how long she waited?
And she says five and a half hours
And he tells her to always wait five and a half hours
Now whatever you do don't imagine Rose in the parallel world, trapped on the wrong side of that wall, waiting five and a half hours just in case the Doctor manages to find a way. It was one of the earliest bits of advice this regeneration told her, "Always wait five and a half hours".
And imagine how impossible it must've seemed on that ship, and how impossible it seems now. But it still happened then, so there has to be a chance, right?
And then there isn't. He's not there. Maybe she waits an extra minute, an extra hour. But eventually she leaves. She tries to live.
But then Bad Wolf Bay. And then he's there, and then he's gone. And he says it's for the last time, but she waits again. Another five and a half hours on that beach, waiting to see just in case her doctor comes back for her.
But he never does.
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'Sixty years is a long time for any TV show to be on the air. For a show to deliver quality episodes over the course of six decades is basically a miracle. But Doctor Who, the BBC’s long-running TV series, which celebrates its 60th anniversary this year, has managed to make great sci-fi TV across the decades.
Since the premiere of the very first serial, “An Unearthly Child,” on Nov. 23, 1963, Doctor Who has tested the limits of what sci-fi TV can achieve — and shown just how much can be done with tin foil, a plunger, and a dream...
60. “THE IMPOSSIBLE PLANET/THE SATAN PIT”
The Doctor fights the Devil on a planet orbiting a black hole — you won’t get a better elevator pitch than that. But “The Impossible Planet” two-parter is more than a family-friendly riff on Event Horizon; this claustrophobic space adventure is a barnburner that finds time to muse on spirituality and religion while delivering some extra-spooky possession scenes and one of the best new monsters of Doctor Who. — Hoai-Tran Bui
51. “GRIDLOCK”
Despite his reputation for campy high jinks, Russell T. Davies is perhaps one of the most cynical Doctor Who writers, frequently depicting humanity as doomed to repeat its mistakes. “Gridlock” is the perfect marriage of both of Davies’ comedic and cynical tendencies: a weird sci-fi episode about a planet perpetually stuck in traffic, through which the Doctor must navigate cat people, nudists, and killer crabs. But all of this is a thin veneer for the tragic fate that humanity has dealt itself. — Hoai-Tran Bui
48. “SOUND OF DRUMS/LAST OF THE TIMELORDS
Season 3 is when Doctor Who realized it could deliver season finales that actually had ramifications. There’s an entire year in between these two episodes where The Master, in the form of Prime Minister Harold Saxon, has ruled over the Earth introducing it to an alien species known as the Toclafane. There are grandfather paradoxes, callbacks, and the Doctor’s most underrated companion, Martha Jones (Freema Agyeman), making a decision for herself — each the shot in the arm the show needed to grow to new heights. — Dais Johnston
47. “THE UNICORN AND THE WASP”
When the 10th Doctor (David Tennant), Donna (Catherine Tate), and Agatha Christie (Fenella Woolgar) end up in a whodunit episode, the only thing that makes the proceeding even more fun is the presence of a massive alien wasp. Come for the hilarious 1920s romp, but stay for some of the funniest David Tennant-Catherine Tate comedy in the entire show. — Ryan Britt
41. “THE STOLEN EARTH/JOURNEY’S END
As Shakespeare said, “Journeys end with lovers meeting,” but for every meeting in the Season 4 two-part finale, there’s a goodbye. There are happy moments (the TARDIS being piloted by multiple pilots as intended, The DoctorDonna), sad moments (Donna having her memory erased, the beach farewell with Rose), and, because it’s Doctor Who, baffling moments (Martha is married to Mickey now, I guess). — Dais Johnston
39. “THE END OF TIME”
It simply does not get more epic than “The End of Time.” The two-part special sent off David Tennant in the only way it could: by pulling out all the stops and leaning hard on the nostalgia. The Time Lords are back, The Master is back, and the best sci-fi trope ever gets employed: an ominous prophecy that reads “he will knock four times.” The conclusion is a farewell tour for the 10th Doctor that had us all bawling. Little did we know he would be back before we knew it. — Dais Johnston
34. “ARMY OF GHOSTS/DOOMSDAY”
The Doctor’s two biggest enemies, the Daleks and the Cybermen, both invade Earth in this two-parter that brings a parallel Earth front and center. While the plot is thrilling, this episode will always be remembered for its final scene, the goodbye between Rose Tyler and The Doctor as Rose is forced to live in the parallel Earth to save the world. — Dais Johnston
23. “TURN LEFT”
“Turn Left” may as well be titled “It’s a Wonderful Regeneration,” as it explores an alternate world where Donna Noble never met the Doctor and he died during the events of “Runaway Bride,” when they first met. The dystopia the world falls to is fascinating to watch, fitting in observations of fascism in between alternate-reality high jinks. — Dais Johnston
19. “THE FIRES OF POMPEII”
“The Fires of Pompeii” is one of the most influential episodes of Doctor Who, not for the plot but for the cast. Peter Capaldi, best known as the 12th Doctor, plays an Ancient Roman patriarch. Karen Gillan, best known as Amy Pond, plays a mystical cult member. But this episode is a masterclass in one of the series’ most tenuous conceits: that sometimes, a moment is fixed in time and you end up in Pompeii on Volcano Day, unable to change anything. — Dais Johnston
18. “THE GIRL IN THE FIREPLACE”
Basically, the episode that solidified Steven Moffat as one of the great modern writers of Doctor Who. From the first moment, in which Madame de Pompadour calls for the Doctor’s help, to the final revelation of what the clockwork robots really want, this episode is flawless modern Who. And yes, especially that part where the 10th Doctor (David Tennant) pretends to be drunk. — Ryan Britt
16. “HUMAN NATURE/FAMILY OF BLOOD
The monsters are secondary to the fascinating ethical dilemma “Human Nature/Family of Blood” presents: Is a human being real if he’s just a collection of false memories? Featuring one of David Tennant’s best performances, this two-parter endears us so quickly to its period drama setting that when the Doctor Who sci-fi finally enters the story, it feels as tragic as John Smith’s fate. — Hoai-Tran Bui
9. “MIDNIGHT”
Doctor Who does its best Stephen King with “Midnight,” an episode where the Doctor fights an unseen monster that possesses a passenger, causing her to repeat every word the others say. Despite its blowhard stock characters and claustrophobic setting, “Midnight” is one of Doctor Who’s most terrifying hours, and Davies’ most sparse and tensely staged script. — Hoai-Tran Bui
8. “THE DAY OF THE DOCTOR”
Steven Moffat pulled off a bit of a miracle with “The Day of the Doctor,” the 50th-anniversary special that saw the 10th and 11th Doctors meeting a newly invented Doctor played by John Hurt. But despite its big ambitions (the Time War onscreen for the first time!) and obligations to the show (Tom Baker’s cameo!), “The Day of the Doctor” manages to be a rip-roaring, fully satisfying adventure all of its own. — Hoai-Tran Bui
7. “THE WATERS OF MARS
What happens when the fun-loving Doctor goes too far? With “The Waters of Mars,” David Tennant proves his Doctor was a hero on the edge of becoming a villain, depending on who was watching. This brilliant twist of perspective is a high point in Tennant’s era, and Lindsay Duncan’s guest performance as Adelaide Brooke brings the Doctor down to Mars. — Ryan Britt
4. “SILENCE IN THE LIBRARY/FOREST OF THE DEAD
“Hey, who turned out the lights?!” Moffat turns another primal fear (why are we afraid of the dark?) into one of the show’s most terrifying monsters with the shadow-dwelling Vashta Nerada. But the “Silence in the Library” two-parter doesn’t excel just because of its spooky, abstract monsters; it’s the episode’s dealings with transhumanism and star-crossed love (along with the introduction of Alex Kingston’s scene-stealing River Song) that elevate it to one of the show’s greatest achievements. — Hoai-Tran Bui
2. “BLINK”
Inventing a new Doctor Who monster is hard. But this unforgettable Steven Moffat episode forced us all to fear old statues everywhere. A flawless episode with a pristine presentation of paradox at its core, “Blink” makes time-travel fiction look easy. The guest cast is perfect, especially Carey Mulligan as Sally Sparrow. Also, no other episode on this list created an instantly popular and enduring Doctor Who catchphrase: wibbly wobbly timey wimey! — Ryan Britt...'
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