From: doctor@doctor.nl2k.ab.ca   
      
   In article <10ia3f9$354hp$1@dont-email.me>,   
   The True Doctor   wrote:   
   >As with the previous four episodes the writing and directing of this   
   >rubbish is the most horrendous, amateurish, childish, and insulting I   
   >have ever seen, and consists of nothing more than a thin veil for a woke   
   >lecture filled with unsubstantiated lies, propaganda, and complete and   
   >utter hatred and contempt for humanity.   
   >   
   >I will review this story written by the clueless and amateurish soap   
   >opera hack and infantile political playwright Pete McTighe and devised   
   >by the equally clueless, infantile and amateurish soap opera hack   
   >Russell T Davies in comparison to The War of the Worlds written by the   
   >great pioneer of science fiction H. G. Wells since both deal with an   
   >alien lifeform which attempts to conquer humanity and is eventually   
   >defeated by biology.   
   >   
   >As before, when I reviewed this woke trash in comparison to Interstellar   
   >and The Abyss, while one is well written with the writer foreshadowing   
   >the advent of the First World War and the development of fighting   
   >machines and weapons of mass destruction, with the British Empire   
   >helpless against them in its complacency, and only saved by chance,   
   >serving as a warning not to be left behind in science, technology,   
   >engineering and medicine, and which deals with the issues of faith,   
   >helplessness, idle boasting, and cowardice, the other is pure degenerate   
   >woke lecturing expressing the writers' irrational hatred and contempt   
   >for humanity and spreading downright lies, mistruths, and misinformation   
   >about the environment, using science fiction as as a means to capture an   
   >existing audience and indoctrinate them with a one sided false narrative   
   >which overwhelms everything, resulting in the most appalling, infantile,   
   >and totally horrendous and insulting writing I have ever witnessed by a   
   >clueless and talentless soap opera hack and political playwright who is   
   >incapable of writing any better then an uneducated infant who doesn't   
   >understand how to spread out bread crumbs in a line joining them   
   >together to form a route that leads the way to a specific destination so   
   >that others can easily follow it without having to search around blindly   
   >for the next link which is missing.   
   >   
   >The clueless Davies and McTighe throw breadcrumbs out at random as if   
   >feeding the birds and are totally incapable of combining them in the   
   >form of a linear narrative or plot. All that these degenerate hacks can   
   >write is totally meaningless and irrelevant soap opera instead of using   
   >character interactions in the manner used by H. G. Wells to tell a story   
   >and discuss and debate the impact on humanity of events ensuing from the   
   >plot, religious, cultural, and philosophical matters emanating from the   
   >plot, strategy in combating and fleeing an enemy which is   
   >technologically superior, fear and exploration of the unknown, and the   
   >completion of a hero's journey. All of H. G. Wells' character   
   >relationships and interactions advance the story and the plot. Davies'   
   >and McTighe's don't.   
   >   
   >Davies and McTighe from the start succeeded in totally destroying the   
   >character of Kate Stewart by turning her into a hate filled self-serving   
   >blackmailer who threatens her doctor with exposing her unfaithfulness to   
   >her husband unless she prescribes her double the dosage of the   
   >antidepressant drugs that she is taking, and does not declare her to be   
   >medically unfit for duty.   
   >   
   >All of this which is linked to Kate's recently deceased toyboy, who   
   >appeared to everyone else to look gay, is totally irreverent to the   
   >non-existent plot since it doesn't drive any future plot dependent   
   >events. It's pure mind-numbing soap opera that slows the entire episode   
   >down.   
   >   
   >Why didn't the two hacks instead describe what motivated the fish   
   >lizards to escalate the tensions by melting the ice cap over Antarctica?   
   >Why the pretence of negotiations when the fish lizards were always after   
   >taking the whole of Earth for themselves in the first place. Where is   
   >the discussion of this which could have shown the characters developing?   
   >   
   >This brinkmanship along with the ridiculous ultimatums which can never   
   >be met is a total waste of time and serves as nothing more than padding.   
   >Why not just start the entire story with a pre-meditated invasion and   
   >land grab as H. G. Wells does in The War of the Worlds since the fish   
   >lizards never had the intention of genuinely negotiating anything. The   
   >entire story could have then been done in just one episode.   
   >   
   >Why have the fish lizards rounded up all the dogs so that they could eat   
   >them in retaliation for the humans eating the fish? It would have been   
   >better to make them completely unjustifiable and unsympathetic   
   >protagonists by having them harvest the humans for food instead, as H.   
   >G. Wells does in TWOTW.   
   >   
   >As with Kate's relationship with her homosexual singling toyboy the   
   >relationship between Tovey's character Barkley and his ex-wife and   
   >repulsively obese daughter serves no purpose in this story either and   
   >could easily have been left out. The character of an ex that he's never   
   >going to get back with is totally incapable of consoling him and makes   
   >no sense when he's in love with someone else. He should have been   
   >discussing relationship matters with another man not a woman, unless   
   >he's gay. Oh, wait a moment, he is, and so is at least one of the   
   >writes. This is why gay writers should not be allowed to write   
   >relationships for heterosexual audience. Only heterosexual writers can   
   >understand that. RTD why don't you take your own advice since you claim   
   >that only gay actors can understand how to play gay characters?   
   >   
   >The daughter also serves no purpose whatsoever. If he'd cared about   
   >either of them he'd never have wanted to go off after the fish lizard.   
   >   
   >Tovey is locked up in a hotel room for his safety, but is given a device   
   >to disable the security cameras so he can go to the sea and call for the   
   >female signalling fish lizard. How does it work? Explain it otherwise no   
   >one will suspend their disbelief since it implies stupidity in the   
   >people monitoring the cameras who are easy to fool.   
   >   
   >Why even lock him up when the intention of the powers-that-be is to have   
   >him make contact with the fish lizard anyway. Why not just let him do   
   >that normally? Davies and McTighe don't have the faintest clue how to   
   >write plot or who the most important characters and elements in the   
   >story should be.   
   >   
   >Apparently the word "severance" is cropping up all over the place. Well   
   >why hasn't it been mentioned then until this episode? Instead of giving   
   >the audience foreshadowing and build up it's pulled out of nowhere at   
   >random because...   
   >   
   >The same thing goes for "accord". Because... Why not replace the   
   >degenerate soap opera with world building and show us the fish lizards   
      
   [continued in next message]   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)