Docteur Qui

Very sad, his turn as LeChuck was probably my favourite performance in the whole series. His absence was definitely felt in Return, though it sounds like he had not been well for a while and I completely respect his decision to not come out of retirement for it. It's also a massive loss to voice acting at large, his voice was one of a kind but so versatile. I hadn't realised how many things I'd heard him in until I looked it up just now.

Wasn't there a story going around that during the recording sessions it turned out that Williams had not been given the latest edit of the film and subsequently had to rush to revise a whole bunch of cues? If that's true it's possible that he wrote the inserts for the newer cut of the film, then the final edit (after the sessions) truncated the Whomping Willow sequence in different areas.

I understand why franchises are hesitant to move past the events of their original moneymakers, but good lord if it isn't boring watching the same locations in the same 20-year period of an entirely imagined universe. Star Trek was stuck in it for a good few decades post-TNG and is only now getting out of it, albeit with mixed results. Picard is extremely uneven, but the most recent season of Discovery was quite good IMO. Lucasfilm have largely bungled things with the uneven sequels and inexplicably Tatooine-heavy foci of Mando/Boba. If you want to steer clear of muddying the waters of continuity and canon that's fine, just jump ahead a few hundred years! Mind you, it's a terrifically poor universe in terms of world-building; for some strange reason there's zero technological advancement in the 4,000 years since Knights of the Old Republic. Must be all the war.

Reminds me of all those people who went to see Sweeney Todd not knowing it was a musical. That was entirely the fault of the marketing department of course - most of the trailers didn't feature any singing, but good lord did they complain.

The SS suffix in usernames is an increasingly common dogwhistle in online spaces these days, as is the number 88 (I won't go into why, Google it if you want). 1988 happens to be my year of birth and I've had a few old accounts deleted because I had 88 in my username.

Dear God I'm attracted to Ncuti, and that costume has only made it clearer. Millie Gibson is also a stunner. Their chemistry in this short video is palpable, this is going to be a great TARDIS team

lol, Lucasfilm might be out of touch at the best of times (as TROS and half of their Disney+ output exemplifies), but even they're not tone deaf enough to "replace" a character as singularly iconic as Indy. The mere suggestion of it was even the final punchline of KOTCS. How does one "replace" a character like that anyway? If they make future films without Ford and set in this "universe" (god I hate pop culture sometimes) then they won't be Indy movies, they'll just be swashbuckling films with the same aesthetic and maybe a few statements of the Raiders March.

I like what I hear so far - shades of Powell’s animation writing with lots of fun twists and turns and instrumentation. Particularly love the cool rendition of the OG Mario theme, really amplifies the fun rhythm of Kondo’s music! Listening again and I just noticed the fun “bop” sample from the New Super Mario Bros theme just as he pops out of the pipe. Hope the whole score is peppered with these kinds of fun easter eggs

Well then, let's hope your purpose on this forum is nearing its fulfilment

The writing for the game is good - for a game. It's nothing spectacular when compared to great films and series IMO, but compared to 99% of other games (in the same genre or otherwise) it's phenomenal. The biggest challenge this series will face is how it can stand out amongst everything else going in in prestige TV land at the moment; it's one thing for a cinematic experience to stand out amongst other games, but will it translate to a different medium? The key point of both games' success and appeal were the ways in which they forced the player to not only watch but execute questionable acts of violence, raising the question of what we as audiences will and won't go along with based on who we perceive as the protagonists. That idea is hardly groundbreaking in television, particularly in a post The Wire/Breaking Bad world, so I'm interested to see how the writers try to tell those aspects of the story without, as AC points out, giving us something we've already seen done a thousand times.

Irina should have "killed" Mac in the opening scene in order to gain Indy's compliance, after which she taunts Indy saying he was a double agent. It would've set her up as an actual threat to the audience and given Indy a more compelling motivation to go after the Soviets later in the movie (searching for answers about Mac, in an effort to clear his name). Mac doesn't actually have to be dead, a later scene could establish it was all was staged by himself and Irina, and then again a reveal that it was a triple-cross and he was on the USA's side all along. We'd get more interesting scenes for Harrison Ford, an appropriately Cold War-esque tangle of deceptions, plus it establishes an actual relationship with dramatic tension between Indy and Irina. Overall it works much better (even if it's basically the same as the opening of Goldeneye). Hell, I'd even go one step further and merge Mac and Oxley into one character, most of the plot points would've worked the same and it would've made for some interesting conflict between Mutt and Indy.

Well that’s based off the terrific Mario Sunshine arrangement of the theme, so it gets a pass, plus it’s not really orchestral (the album it’s from is a big band live performance). That whole album is great, I used to listen to it all the time. The rousing encore of the Mario 64 Rainbow Road/slider theme is so much fun!

Hot is in the eye of the beholder. And when it comes to the Doctor, so is "young".

Lovely arrangement, but I don't like how so many orchestral interpretations swing the Mario melody in that jazzy way. It's supposed to be calypso - the feel comes from the syncopation of straight rhythms, you don't need to swing! I get that it's intentional - they're going for an orchestral soft-shoe/foxtrot kind of thing, but still, I think it weakens the greatest asset of Kondo's iconic music.

Bought this without hesitation, which is saying something as my last physical music purchase was probably the Harry Potter set. What an absolute treat!

If you mean my post I was referring to his very first season, when he was still in his 20's. That's surely young?! If you don't think he's gorgeous, well that's on you!

Please, no. I get the impression the latter comment is in reference to things like the ticker-tape parade, i.e. big events contemporary to the film's setting. That said, if a time travel component does come to pass we'd better not see indulgent crap like Indy watching himself recovering the fertility idol and running from the boulder. I'd like to think that Mangold has a bit more awareness than that, not least because as others have noted Marvel did the same thing very recently.

I'd hate to see your house if that's your definition of "neat" Good article, it did what it was meant to and has "dialled" up my excitement quite a bit. I mostly can't wait to hear Helena's theme in all its glory. What a treat it is - memorable, lush, and just exquisite.

He could just be trolling at this point. He's already making the movies he wants to, every now and then he'll throw out a line about this trilogy and watch the fanbase froth into a frenzy and then go about his business. Personally I think he's above SW now, as are most directors/creatives. I'm sick to death of the SW universe, though I suppose if anyone was going to breathe new life into it it's definitely Johnson (I haven't watched Andor which is supposedly quite compelling).

Love the ease with which these two bounce off each other! Reminds me of all the behind the scenes stuff with Matt Smith and Karen Gillan back in 2010 - two gorgeous young people having a laugh, brimming with chemistry and fun. It's a shame we have to wait til 2024 to see the two of them in action together, unless she debuts alongside Ncuti in the Christmas special next year, which is entirely possible.

Totally agree, some very strange choices in there. Luckily I've made my own version which features the most important characters:

Oh man that sucks so hard! That's happened to me a few times so now whenever I know I'm gonna be posting something long on this forum I draft it on Word or something, it's saved my ass a few times! Hope to read something soon, otherwise this thread will die out and I can't wait til 2024 to keep talking about this great show!

Thank you, this is very well articulated. It's not about caving in to some imaginary offended individuals, it's about not giving the hideous media more ammunition in the culture wars.

It’s the same world we’ve always lived in. But the people who were previously denied a voice are now audible.

Interested to hear your thoughts on the finale @Jay, I enjoy your in-depth posts. I think the combination of mistrust in Rhaenyra, fuelling her fear that Rhaenyra might in fact be scheming to claim the throne for selfish reasons and against the king's wishes, and her own father's convincing argument that once the king is dead, Rhaenyra would have to consider her own children as adversaries and may feel compelled to have them removed, is quite enough to put here in self-perpetuating state of paranoia. Still, both Alicent and Rhaenyra remain grounded enough to seemingly make peace with each other during the final dinner - until new shit comes to light that makes everything go awry again. I see the core conflict between Allicent and Rhaenyra as being firmly rooted in the idea that they were exceptionally close young women with a deep affection for one another, tragically torn apart by circumstance and the actions of the men who control their lives. Every obstacle between the two women is one borne of patriarchal structures, which in Westerosi society have naturally evolved to depower and divide women at every opportunity. An example of this is how the show presents sex and sexuality for each person; Rhaenyra had the freedom to explore her desires with agency, finding great pleasure in sex beyond its status as a duty for procreation. Allicent, on the other hand, is utterly sexually repressed at every turn; sex is not only a solemn duty for her but an altogether unpleasant one as we can see when the King calls her into his chambers - not to mention the ways in which Larys Strong abuses sex to keep himself in service to her. It's no wonder that sex fuels her already intense anxiety, and, when combined with the multitude of other factors, her views warp into a sense of piety and self-righteousness. Egged on by the detestable Criston Cole (whose has his own hideous attitudes about women), Allicent buys into the misogyny and starts to see Rhaenyra as an abomination; flaunting her sexuality and her impropriety for all to see. Put simply, Rhaenyra's actions are the result of a woman who choose her own happiness at any opportunity, which is a luxury that other noble-women (like Allicent) in the show could never have. The effects of this are wide reaching and extend to their children; Rhaenyra looks at all of her children and sees nothing but love, while Allicent can barely look her sons in the eye (lol sorry Aemond) because of what they represent to her. The neglect that Aegon and Aemond experienced because of her coldness has contributed to the conflict. I also detect further undertones that Allicent's feelings for Rhaenyra bordered on romantic, or at the very least extremely intimate, which is why it's so tragic to see these women pitted against one another.