Docteur Qui

Has anyone from Australia received theirs yet? I ordered within hours of it being available from the LLL website; it’s been shipped and the USPS tracking site says it arrived at an origin transfer airport on December 9th but hasn’t moved since, still “in transit”.
 
I’m getting a little antsy as last year when I ordered TND it never arrived at all, I checked the status in early Jan and it said “delivered” but never got it. I was eventually sent a replacement but that took another month.

Fellow Australian here! I ordered minutes after it became available. It took a week to ship, has currently been in transit for 10 days, and estimated time of delivery is December 22-27.

I began working on this album in May of 2016.
 
The whole story of the album will be shared on various podcasts coming soon.

I’m super happy at work. Everyone thinks I got laid.
 
I’m… not gonna correct them 

And finally...last but not least...
BANGARANG!!!

HOOK – THE ULTIMATE EDITION: EXPANDED & REMASTERED
LIMITED EDITION (3-CD SET)      
LLLCD 1632
Music by John Williams
Limited Edition of 5000 Units
RETAIL PRICE: $39.98
STARTS SHIPPING DEC 1

Available to order now at www.lalalandrecords.com

La-La Land Records, Sony Pictures, Amblin Entertainment and Sony Music present HOOK – THE ULTIMATE EDITION, a remastered and expanded 3-CD soundtrack presentation of legendary composer John Williams’ (STAR WARS, E.T., HARRY POTTER) original motion picture score to the 1991 adventure-fantasy HOOK, directed by Steven Spielberg.

An undisputed masterwork within the treasured John Williams and Steven Spielberg collaboration that has spanned five glorious decades, HOOK is an astounding orchestral odyssey that exemplifies the Maestro’s musical genius—a sonic epic that soars with imaginative joy, wonder and adventure!

This remastered ultimate presentation unleashes Williams’ iconic score as never before, expanded beyond any previous soundtrack release, with never-before-released score, alternate tracks, songs and source music.

Produced, edited and mastered by Mike Matessino, in consultation with the composer, Disc One of this deluxe reissue contains the score presentation, which continues through Disc Two with additional music tracks. Disc 3 offers a sumptuous bounty of songs (highlighting the wonderful songwriting talents of Leslie Bricusse), alternate cues and source music! With stellar art direction by Jim Titus, this limited-edition release of 5000 units features a 48-Page booklet that includes exclusive in-depth liner notes by Matessino and associate producers John Takis and Jason LeBlanc. The track listing is featured on a 12-page second booklet within the package.

TRACK LISTING:

 DISC 1
 SCORE PRESENTATION
 1. Hook Prologue (Extended Version) 1:33
 2. We Don’t Wanna Grow Up (Extended Version) * 2:57
 3. Banning Back Home (Film Version) 3:21
 4. Wendy’s Entrance 2:12
 5. The Bedroom 1:08
 6. The Nursery Scene 1:40
 7. Saying Goodnight :57
 8. Hook Returns To Kensington 2:00
 9. Hook Is Back 2:09
 10. Forgotten How To Fly :56
 11. The Stories Are True 2:24
 12. The Arrival Of Tink 3:33
 13. The Flight To Neverland 2:40
 14. Pirate Town And Presenting The Hook 5:09
 15. Hook’s Entrance 2:42
 16. Draw Your Sword! 2:14
 17. Peter’s Challenge 5:42
 18. From Mermaids To Lost Boys (Film Version) 4:26
 19. Enter Rufio 1:19
 20. The Lost Boy Chase 3:35
 21. The Face Of Pan 2:42
 22. Hook’s Epiphany 2:16
 23. Smee’s Plan 1:46
 24. Pick ’Em Up * 2:56
 25. Hook’s Lesson 3:08
 26. The Banquet 3:14
 27. The Never-Feast (Film Version) 4:41
 28. When You’re Alone * 3:17
 29. Goodnight Neverland 1:45
 Total Time Disc One: 78:54

 DISC 2
 SCORE PRESENTATION (Continued)
 1. Stop That Clock! 4:05
 2. Home Run And Follow That Shadow 5:24
 3. Peter Remembers (The Flying Sequence) 8:23
 4. You Are The Pan (Film Version) 1:26
 5. Tink Grows Up 2:21
 6. The Ultimate War (Film Version) 8:02
 7. Death Of Rufio 4:23
 8. The Sword Fight And The End Of Hook 7:07
 9. Farewell Neverland 10:18
 10. Hook End Credits And Exit Music 5:52
 Total Score Time: 2:16:23

 ADDITIONAL MUSIC
 11. Hook Prologue 1:25
 12. Banning Back Home (Extended Version) 4:24
 13. From Mermaids To Lost Boys 4:26
 14. The Face Of Pan (Choral Version) 2:43
 15. The Ultimate War 7:54
 Total Additional Music: 21:00
 Total Time Disc Two: 78:32

 DISC 3
 SONGS, ALTERNATES AND SOURCE MUSIC
 1. We Don’t Wanna Grow Up * 1:52
 2. God Rest Ye Merry, Gentlemen 1:10
 3. Childhood * 3:54
 4. When You’re Alone – Moira’s Lullaby * :46
 5. The Stories Are True (Alternate) 2:24
 6. The Arrival Of Tink (Alternate) 3:35
 7. The Flight To Neverland (Alternate) 2:33
 8. Low Below – Pirate Sequence * 4:58
 9. Hook’s Entrance (Alternate) 2:42
 10. The Lost Boy Chase (Alternate) 3:34
 11. The Never Song * 2:04
 12. The Never-Band 1:20
 13. The Never-Feast 4:42
 14. When You’re Alone (Instrumental) 3:19
 15. Mothers * 2:26
 16. Stick With Me * 2:00
 17. Take Me Out To The Ball Game 2:18
 18. Remembering Childhood 11:06
 19. Believe * 3:01
 20. Farewell Neverland (Short Version / Alternate) 6:54
 21. Hook Exit Music (Alternate) 1:48

 BONUS TRACKS
 22. Pirate Sequence (Instrumental) 3:59
 23. Smee’s Concertina Medley 4:50
 24. Presenting The Hook (Vocal Version Segment) * 1:38
 Total Time Disc Three: 79:17
 Three-Disc Total Time: 3:56:43

 * Lyrics by Leslie Bricusse

This is a CD format release
 
https://www.facebook.com/lalalandrecords/posts/pfbid0v345Qm15U7zFVDxCpCQ1Xv3cJRByUzeWBTASjKsLmzW59uKwsNhhYCCuoN8ujV53l
 
 
 
https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/

The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning.
 
As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors.
 
Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".

The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning.
 
As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors.
 
Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".

HAPPY 60th BIRTHDAY, DOCTOR!

🎆🎂

Indeed, sir. Putting the Davros debate to one side, I'd just like to say ... 

A very happy 60th anniversary, Doctor ... who (arf) would've thought it way back on 23rd November 1963, eh? From modest beginnings to telly's greatest hero in its longest running sci-fi show. Quite remarkable, really. 

May your adventures across space and time continue to be a bright spot in this ever-darkening world, to both me and many others. I look forward to watching the colourised 'cutdown' version of your first encounter with the Daleks on BBC4 tonight, and to seeing what's in store for your fourteenth incarnation across the next 3 Saturday nights (especially the explanation as to why he appears to be your tenth one all over again, lol). 

Happy times and places. Allons-y! 








 - William Hartnell, lol

- Paul McGann, lol 

The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning.
 
As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors.
 
Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".

The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning.
 
As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors.
 
Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".

The Christmas specials have always aired on Boxing Day in Australia. I'm fine with it, it was a big part of my family tradition to sit down and watch on Boxing Day night and I'm thrilled that it's finally returning.
 
As for the storm in a teacup that is Davros... Others have articulated my thoughts already; RTD made a decision that was entirely appropriate given the context of the short. In case people haven't noticed he has a strong working relationship with Ruth Madely (who is appearing in these specials); he's already putting his money where his mouth is when it comes to platforming differently abled actors.
 
Not too long ago mainstream films, television, and books frequently coded villains as gay or sexually "deviant" in some way, and that would likely still be the case if it wasn't for storytellers like RTD being vocal about it and -crucially - actually doing something about it by presenting queer stories and platforming queer actors. It's not virtue signalling if there's tangible action to go along with the awareness. I'm old enough to remember how much people complained about the queerness in RTD's first run, this is pretty much the same "controversy".

Imagine you're British, you have East Enders, Sherlock, and sometimes, yes, sometimes, you're the baddie in a movie. It's funny, you laugh.
Imagine you're in a wheelchair, you are not in anything, ever, all the time… until you are an evil creature.
 
That's basically the thing. Visiblity is so low for minorities, whatever the minority, that you cannot be just picked as "the villain" or "the guy who dies first all the time".

I don’t have a stake in this thing at all since I don’t care at all about the idea of canon in anything and I don’t have this particular disability, but it’s a bit of a complex issue - the representation question for people with this particular disability.  Is there a stereotype of people in wheelchairs being evil?  It’s not one I’ve picked up on, but it’s also not an issue I’m keyed into.  

Do you run the risk of saying “people in wheelchairs can’t play villains” and then all of a sudden the only characters in wheelchairs are perfect angel geniuses (a counterpart to the 1990s brand of Joss Whedon Feminism where media was full of Strong Female Characters trope messiahs and not complex, interesting characters (who are sometimes flawed or villainous!).
 
Do you overcorrect, just  start taking roles from actors in wheelchairs?  Peter Dinklage talked shit on Disney on some podcast for continuing to cast little people as magical wood nymphs, and Disney seemingly altered course on their Snow White remake as a direct result to make the dwarfs CGI - which pissed off a ton of little people actors who had auditioned for the roles.
 
The answer is probably the general representation fix - cast people who actually have the disability in the roles instead of having some rando Brit squat down in a wheelchair for a week, and include that representation meaningfully (not just as a token)  behind the scenes (particularly in writing and directing roles) so that the stories you tell are more authentic.
 
This particular issue seems like a lot of ado over nothing, and if they hadn’t done it for a charity that benefits children with disabilities, you would never have heard the spiel from RTD or maybe even have seen Davros at all.

Which is precisely the kind of thing you want to avoid at a charity event, since you want the children it's for to come away understanding that isn't the case in reality whatsoever. I suppose the way the featurette is framed makes this reasoning a bit too charitable (hah), but it's the only real takeaway I can have that makes reasonable sense to me, given what I mentioned earlier about implications that could easily arise from explaining the decision.

I alluded to this in a previous post, but disfigured actors have admitted to primarily getting villain roles as a result of their appearance, so the notion that it could create a particular impression by association shouldn't be considered that far fetched.

It is a very common trope for the disabled and disfigured to be villains and have part of the intimidation come from the otherness, I don't know why people are pretending like this was never a thing

...That's exactly what he's saying. What was fine then he doesn't see as fine now

People are jumping to a lot of bizarre conclusions. RTD can say what he likes, but let's wait to see how this manifests if at all
 
So far we have a depiction of Davros that is believably pre-accident in a minisode, if we see him again who knows what form that'll take?
 
Reasoning aside, I would be interested in seeing a different take on Davros as he's starting to become quite old hat by now, like The Master sans regeneration

Gotta say, I can't stop laughing.
 

They probably just wanted him to finish the damn books so they had something to work with lol

Given some recent appalling storylines, I'd rather see stories which try, and perhaps not entirely succeed, but at least try, to examine the moral dilemmas the Doctor faces, such as the one in Waters, and off the top of my head, the ones in the Vesuvius episode and Beast Below. All this crap about things getting personal for the Doctor or just defeating some generic alien get a bit boring.
 
Or if the showrunner comes up with a 'perfect' foe, such as the weeping angels. If you manage to do that, I'll take an average story now and again.

The mythological (for want of a better phrase) aspect of the Doctor helps add to the mystery ... he's meant to be at least a bit enigmatic and unknowable, after all. The show title was originally intended as a question, apparently (something the show recently has had a little meta fun with, along with the notion that it's actually the Doctor's name (as it pretty much was until the Davison era, which is when it changed to 'The Doctor' in the end credits) ). 

That's a good example of how words will always have more of an effect than even the most well-executed and directed forms of visual storytelling. The way that River's words make us feel about a version of the Doctor that we haven't seen is visceral and exciting. And I suppose, in a way, is very much the whole point of that episode, and much of Moffat's tenure. It's not so much what we see of Doctor that makes him so wonderful to his allies or so terrible to his enemies, but rather the way that stories about him are told in the universe of the show. The Pandorica alliance, the Church of the Silence, the Daleks in the Time War... they're all largely motivated by and act on the stories of the Doctor's victories that are passed down to them, or delivered by a sole witness to the events. Similarly, the version of the Doctor that River talks about doesn't actually exist; it's just how she sees him, and although we see many of the things she describes about him come to pass (like entire armies running away) nothing will ever compare to the reverent way with which she tells that story.
 
Anyway, I mainly wanted to talk about how wonderfully poetic this show used to be, and will be again soon. Words and phrases like "I saw you fly into the jaws of the Nightmare Child", or "the Could've Been King and his army of Meanwhiles and Neverweres"; they stimulate the imagination so brilliantly and paint the picture of a universe so vivid and interesting that no amount of money (Disney-levels or otherwise) could effectively depict. It's why in this age of dreary, flat and unimaginative CGI Marvel/DC/StarWars slop-fests that I think the old saying "show don't tell" should actually be "tell well rather than show poorly"