Danny Stewart

Style update

I’ve made the first major change to the typography here since the site relaunched using Second Crack. Previously, the site used Helvetica for its body text. I think it looked great like this, but I wanted something more distinctive. To that end, I’ve taken a cue from Instapaper. Instapaper is my favorite way of reading anything, and the 4.1 version brought with it a gorgeous selection of fonts. A few days ago, I replaced the font for block quotes with Tisa, not initially connecting it with Instapaper. As soon as I realized, I turned to Instapaper for inspiration for the body font as well. My favorite reading font in Instapaper is Ideal Sans, and that’s the one I’ve chosen to implement here.

It’ll take some getting used to, but it’s distinctive, easy to read, and I think it’s a definite step up.

Dinosaurs on a Spaceship

I watched it again from the beginning. I don’t believe I’m about to say this, but… it was good. Or at least it was miles better than Asylum of the Daleks. Chris Chibnall took a shitty concept that was rammed down his throat by Steven Moffat and turned it into something as solid as he could.

The directing hurt it. The concept hurt it. Murray Gold hurt it possibly more than anything else, because he was still there even when the episode got going. But if you’re able to look past all that, it was solid. It was worth watching, and there was a lot in there that I really enjoyed. The Doctor got to be the Doctor for once.

No one is more surprised than I am.

Rating: 6.5 out of 10.

A Town Called Mercy

I watched A Town Called Mercy last night. It was good—perhaps even great.

Dinosaurs on a Spaceship was perhaps a 6.5 out of 10. A Town Called Mercy was quite possibly a 9. It actually felt like Doctor Who almost the whole way through. There was no elaborate setup for the Doctor or his companions, they simply arrived somewhere and were peripherally involved in a situation that was already going on without them. Matt Smith got to be proper Angry Doctor—he even handled a gun and came close to killing. Even the gimmicks, like the pre-titles sequence where the man identifies the remaining victim as “the Doctor,” defied expectations—they didn’t mean our Doctor.

I expected the worst from this one, and was pleasantly surprised. None of it was too melodramatic, and there was a (usually sorely lacking) sense of realism throughout the whole story. I also appreciated that the story stood by itself. I thought the story was very true to the classic series—an alien war criminal on the run, trying to hide his identity in order to reform himself. It felt like something that could have come straight out of the classic series.

Toby Whithouse now has two outstanding episodes under his belt from the past year—this and The God Complex. He really seems to have a feel for the type of stories that classic Doctor Who gave us.

Once again, the weakest link was Murray Gold and his gimmicky Western music. The music was bad enough to be genuinely distracting. The scene where the Marshall dies, for example—Murray Gold’s over-the-top music killed the otherwise somber scene.

The obnoxious voiceovers at the beginning and end also let the episode down somewhat. I got really annoyed when the voiceover at the end drowned out the TARDIS takeoff. It could have just been a nice, standard departure, but no, they had to kill it.

But I’m learning that you have to boil these new series episodes down to their core and look past the inescapable modern influences like Murray Gold’s music, the directing, and the sometimes obnoxious framing of episodes through rapid-fire setups or annoying voiceovers.

If I have time, I’ll do an edit of this one similar to the one I did for The God Complex, except on a smaller scale. A couple of music edits, a better intro, and ending the episode after the TARDIS takes off (with no voiceovers to detract from its sheer, perfect simplicity).

Rating: 9 out of 10.