planet or the time lords

  • The Doctor: i'm the last time lord
  • The Master: hey doc ;)
  • The Doctor: the veRY LAST TIME LORD
  • Jenny: [is created] hey dad
  • The Doctor: i am the LAST
  • Susan Foreman: i never actually died, grandfather
  • The Doctor: they're all dead, i'm def the last
  • Romana: hey wassup
  • The Doctor: THE LAST, YEP, THAT'S ME
  • River Song: hello sweetie ;) xoxo
  • The Doctor: L A S T
  • The Entire Fucking Planet of Gallifrey: [shows up. twice]
  • The Doctor: I'M THE LAST TIME LORD
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Doctor Who episodes | Story: unaired episode | season 17
↳ Shada

“I never forget anything. I never forget. Well, that’s right. I have forgotten. The Time Lords’ prison planet. Now why would I have forgotten? Got it. Of course! Salyavin was imprisoned on Shada. Yes.”

Cupid’s Downfall

@timepetalsprompts winter fic bingo “Cupid” and “Ice”. Also I sneaked in a questionable response to the “Piercings” prompt.

Pairing: Ten x Rose

A/N: VERY AU! Utopian/Dystopian FIC!? Slight “Matched” (Ally Condie) / “The Giver” (Lois Lowry) Crossover? This idea was inspired by those and many more utopian/dystopian young adult series I read or read about years ago. I don’t know who did it first, they all blur together. I’m sure someone’s already done this in fanfiction too. I apologize if I’m not crediting any of those brilliant authors that might’ve gotten into my head.

*

He is a Time Lord. He does not have hormones, or desires, or any of those base human urges. They call him “Cupid” because of a legend from long ago about a cherub with arrows who wielded the power of love. He has weapons at his disposal and power, but they’re not tangible and it’s not love. On the first day of every year, any human who is twenty-one years of age is paired off with a companion that is genetically compatible. He does the final analyzation of the research, he makes the decisions, he signs off on the pairings, and he oversees the bonding ceremony.

Time Lords have ruled over humanity for over two hundred years; protecting and nurturing them until they can recover from the deadly plague that wiped out ninety percent of Earth’s population. The human race on Earth would’ve gone extinct if it hadn’t been for the Time Lords who took over in the midst of chaos. After two centuries, the human race has grown exponentially and into a people who are no longer shell-shocked, weak or afraid. And he’s noticed.

He’s taken an interest in them that goes well beyond their DNA. It’s abnormal and abhorrent for a Time Lord, but when he regenerates for the tenth time, something goes very wrong. He’s one of the most intelligent beings in the universe, and yet suddenly he finds himself distracted; obsessively studying and seeing these stupid apes in a very different light.

The humans are getting restless. They now outnumber their rulers and claim that they deserve the right to make their own decisions. Time Lords are not ruthlessly cruel tyrants, but they’re superior in every way. Those “unjust” laws are meant to save humans, and the Time Lords will stubbornly enforce them until their population goals are met, and humanity’s future is fully secured.

But one day, a Time Lord breaks the rules for one brave pink and yellow human.

And everything changes.

*

Keep reading

Consequences of Time Travel: Why Greg Weisman is a  Better Writer than Steven Moffat

             Time travel stories are hard to write.  A lot of them have been done at this point, for one thing.  It’s kind of funny that something completely fictional has such well-known tropes. There are at least three different types of time travel in fiction.  Type A is that you can go back in time and make changes, and when you return the world will be different than when you left.  Type B is that history is set in stone, and if you go back in time you will simply fulfill a pre-existing role, also known as a stable time loop.  Type C is that when you go back in time, you create a new universe affected by your actions, but your home universe is unaffected (these are ordered based on the order in which I learned them growing up- once I assign letters or numbers to things, they stick that way in my head for life).  Back to the Future is firmly Type A.  That’s why I think the Chuck Berry scene is commonly misinterpreted.  Marty inspiring Johnny B. Goode is a Type B rule, which isn’t compatible with that universe.  I assume the other end of Marvin’s telephone call was Chuck saying “How the hell did that kid steal my song?”  Type C was used in Dragon Ball Z.  Type B was used in the first Terminator movie, though the sequels were extremely confused about their rules.  They were also used by one of my favorite shows of all time, Gargoyles.  Ninety percent of the time, I hate it when series that aren’t about time travel introduce time travel midway through. Sometimes it’s just an excuse to go different places that have nothing to do with the plot, like in Animorphs. The bigger problem is that time travel is too powerful and can overwhelm the story if it’s not restricted- certainly Harry Potter characters could do something more useful with time turners than help an overachiever take more classes.  Having them all destroyed in book 5 was overly convenient, but it was probably the only way to keep the plot going.

             Gargoyles is one of the only series I know of that introduced time travel midway through and managed to integrate it well.  Partly this is because most of the trips in time were to places that were related to the characters’ backstories (the only exception was “M.I.A.,” where Goliath visited the Battle of Britain, and it was probably the weakest of the time travel stories).  Another reason is that Greg Weisman mandated very strict Type B rules. No one can go back and undo something that has already happened because it has already happened, and anytime a character goes back in time they simply act out what already happened.  They have agency in their actions, but the time stream already “knows” what choices they will make.  So there’s no going back and saving the dead from dying.  Or is there?  After all, in M.I.A. Griff was supposedly dead, yet Goliath saved him by grabbing him out of time and bringing him to the present.  Who’s to say they couldn’t do that again?

             This is where Doctor Who comes in.  I’m not an old school DW fan.  I started watching with the Ninth Doctor and went forward. I’ve seen at least one story with each of the first four Doctors and listened to a Sixth Doctor audio drama, but I know more about the new series.  However, I eventually quit watching after Capaldi’s first season because I got sick to death of Steven Moffat’s writing.  One of his biggest flaws as a writer is that there are no permanent consequences for anything.  This is where a comparison to Gargoyles is revealing.  Gargoyles and the rebooted Doctor Who started in a very similar place.  Both the Doctor and the gargoyles were the survivors of a massacre and (apparently) the last of their species.  Both fought a wide variety of villains while trying to find new purpose in life.  And both dealt with survivors’ guilt. Christopher Eccleston put a lot of effort into making his Doctor a character haunted by PTSD and his own failure to save his people (from himself, it eventually was revealed), while Goliath and his clan were adrift and without purpose for a full season.  But they ultimately dealt with the tragedy in totally different ways.

             The Time War was the brain child of Russell T. Davies, who rebirthed Doctor Who in 2005.  Had he stayed in charge, it’s hard to say where things would have ended up. However, the show was eventually taken over by Steven Moffat.  Moffat had done well writing a number of one-shot episodes, most notably “Blink.” I personally think the two-parter “The Empty Child” and “The Doctor Dances” is better, but it’s hard to deny Blink’s impact.  It introduced the Weeeping Angels, for one, and it also was the first time Moffat wrote a stable time loop, or “Type B rules,” as I designated them above. Doctor Who is not a show with strict rules.  It basically is allowed to do whatever suits the episode.  The danger here is that it can be easy to avoid consequences for one’s actions, and the writers had to come up with reasons why the Doctor can’t save everyone.  Some writers use the rule that the Doctor can’t cross his own timeline.  Others used the idea of “fixed points in time” that cannot be altered no matter what.  Moffat, though, basically says anything goes as long as it seems clever.  This can work in small doses, like the time loop in Blink, but over time it’s been abused to the point where nothing that happens to the Doctor matters, because he can undo it.  People saw him die in season six, but The Doctor dodged that by replacing himself with a robot (I’m probably going to get some details of these examples wrong, forgive me).  The best example of the Doctor’s new omnipotence, though, is “The Day of the Doctor,” a.k.a. the fiftieth anniversary special.

             Most people consider this a good episode, and I like it on its own (save for turning Queen Elizabeth into a dopey fangirl for The Doctor).  Like I said, Moffat is best in small doses.  However, when he writes over a long period of time the episodes start to contradict each other and tension tends to build up and then fizzle out.  The whole point of Day of the Doctor was to confront The Doctor’s actions in the Time War, where he’s forced to slaughter his own people to save the universe.  Moffat said he couldn’t imagine writing that scene, so he had The Doctor come up with a solution.  The solution was very silly- make Gallifrey disappear into a pocket dimension just as the daleks are firing on it and they’ll all hit each other.  It sounds like a Looney Tunes gag.  Then the War Doctor gets amnesia just as he’s regenerating, so the Ninth Doctor still thinks he killed everyone and still has to deal with his guilt.  It’s a perfect stable time loop, but it demonstrates how even with Type B rules time travel can be abused.  I had no problem with the idea that the Time Lords were still alive, or at least some of them.  But saying that none of them died means all of the sacrifice we saw before was for nothing. All of the Ninth Doctor’s angst was over a fake memory.  And from then on, nothing that happened, no matter how big, could be trusted to be real. Any consequences could be unwritten, and if there are no consequences for the characters’ actions then there’s no story, just a string of cool moments.  Sure, the Time Lords were still trapped in a pocket dimension, but only because the author said so.  There was nothing stopping him from bringing them all back, because there were no rules.  I would have liked to find some Time Lords who were off planet at the time and were trying to rebuild their society (The Master survived, for one), but saving the whole planet was cheap.  Similarly, the gargoyles did eventually find that other members of their species had survived.  However, there was never any chance of saving their own clan.  If Moffat had been writing, someone would have gone back in time to the morning of the Wyvern Massacre, replaced all of the stone gargoyles with identical statues, and brought them all back to the present. Suddenly Goliath has his family back! Hooray!  Except that would undercut the whole point of the show.

             Greg Weisman said once that he wanted Gargoyles to be about repercussions, so he made the time travel rules so strict that they could never be used to circumvent repercussions.  The rules of time travel aren’t the point, though. The point is the agenda of the author. Moffat is actually less careless with the rules of time travel than some other writers, but he can still undo anything if it seems cool.  This is even true in his non-time traveling series, Sherlock, where the main character can jump off a tall building to his death in front of everyone and then just pop up alive later with no explanation.  Life is all about cause and effect, and all stories reflect that by being about how characters react to their circumstances.  Steven Moffat doesn’t care about cause and effect, and he doesn’t care about characters changing over time.  He cares about cool visuals and badass moments whether they fit the story or not.  Nothing is real because nothing can be counted on to stay true.  When anything can happen and no one’s actions have any consequences, that’s not even really a story anymore.  It’s just a mess.

i just realized a thing. When Ten ‘saved’ River in 'Forest of the Dead’ by uploading her into the librarie’s data core, he essentially did the very same thing to her that is done with the dead on his home planet. The minds of dead Time Lords are uploaded into the Matrix and thus 'saved’, and so was River. By uploading her mind onto the computer, Ten technically gave her some kind of Gallifreyan burrial. He treated her like one of his own kind and - intendedly or not - offered her a Time Lord’s peace. Probably some part of him already knew who she really was.

8

fangirl challenge [2/10] tv shows: doctor who (2005-)

He’s like fire and ice and rage. He’s like the night, and the storm in the heart of the sun. He’s ancient and forever. He burns at the center of time and he can see the turn of the universe. And… he’s wonderful. He has saved your lives so many times and you never even knew he was there. He never stops. He never stays. He never asks to be thanked. He is a man who can change his face. He travels in his magical machine, through holes in time and space. He is the Last of the Time Lords, from the planet Gallifrey, a lonely angel, a wanderer. He is a man without a home, and is always searching for a companion. The monsters and the doctor, it seems you cannot have one without the other. He is completely terrifying, but so, so exciting. His name… is the Doctor.

I took a break so I could wash my hair so now it’s Rhi thoughts time

she really hated Tatooine. big shock, right? she’s not built for hot weather and found herself tempted to take layers of armor off to make the heat more bearable, but pragmatism prevailed. didn’t mean she was happy about it, haha. she spent most of her time on that planet grumpy.

so, by the time Lord Praven issues his challenge, Rhi’s just really ready to get off this rock and basically challenges him back “when you challenged me to a duel I didn’t realize you’d be using words as weapons”

but, she did end up turning Praven to the light–ideally she’d turn every Sith she could to the light and make them a Jedi, like she was given another chance, but she recognizes she can’t save them all: they have to want to be saved, most of the time, or at the very least there has to be some goodness still in them

Alderaan, man. that one was a rollercoaster for Rhi–and not the fun kind–for obvious reasons: she hears her master is dead, finds out he’s alive, and then has to witness him actually being killed.

watching Orgus die was what brought Rhi closest to the dark side she’d been since becoming a Jedi–she wanted vengeance. she wanted Angral to pay. before the assault on his ship, though, she had to remind herself that vengeance got Angral where he was, and she could potentially end up like him–so she had to let her anger go. it was a bitter pill for her to swallow, but it was for her own good and she recognized that, for the most part.