Shut Up. I'm Not Obsessed With David Tennant.

But, I am a bit of a obsessive about details. And I'm really thrown-off when a commercial featuring an actor with a very asymmetrical face has half the footage flipped to a mirror image. Because you can tell something is off but, even if you don't notice that his part flips from one side of his head to the other within the ad. Or even if you don't know that David Tennant arches his left eyebrow and not his right- you can tell something's off.

Right?

It's not just me, right?!

Anyway, they probably flipped the footage because they could only find cars that were built with the wheel on the left-side. Or it was shot while he was in Canada. Or both. Then again... it's all green screen. Why not just green screen a different car in?

Yay, David Tennant's Hair Is FINALLY Back To Normal

Listen, David Tennant has, historically, really great hair. To the point where in the Doctor Who episode "Turn Left", Rose Tyler even describes the tenth Doctor has having "really great hair". Fact. 

So, when six months go by of Mr. Tennant having sub-par hair and there being a lot of pictures of him with such hair, it's sad to see.

But, from the looks of things in the pictures from the Broadchurch 2 cast reading, his hair is finally back in Olympic form. Or, I'm just so hopeful that his hair would be better for the show that I'm seeing fresh layers happening. Either could be true. But I chose to believe that it has been improved.

It may not look like much, but it's a much better cut than what he appeared to be sporting while shooting the American version of the show, Gracepoint. The Gracepoint hair is just so... flat. 

The Gracepoint hair was a bit of a let-down (to me. This is all about me and my opinions of a stranger's hair) when pictures starting being released, as I was hoping for him to have made a bigger improvement from the dark era that involved extensions for Richard II.

 Instead, it appears that they just took the extensions off him and sent him across the world without so much as a maintenance trim. Which was disappointing because his Broadchurch hair was so... nice.

Gah, this post is pathetic. I apologize.

Back To Who: My Favorite Part of The Stolen Earth

Nope, it's not the return of any of the characters. It's not Rose Tyler and her giant gun. It's not even that Joss Whedon-style romantic comedy-turned-horror-movie ending.

It's when the Doctor and Donna are at the Shadow Proclamation and the Doctor asks to be shown the missing planets.

And rather than just running around the tables like a normal person, he feels the need to have one of his steps fall on the ottoman/seat in the middle of everything.

I have a theory that David Tennant asked for something to be put there to make his movement a little more interesting. If there's something for him to climb on, bounce off of, or walk on in an un-traditional way, he usually does (and that's probably how he got those terrible back problems around the time he did Hamlet for the RSC). But this seems to be the most poorly integrated attempt in the entire length of the series. That little ottoman is so out of place, on top of everything. All the other furniture is glass and steel and then there's this little pleather thing that looks like it could be bought in Target.

It does make the coat look great, though, I have to admit.

Something About Nothing

I finally got to see Joss Whedon's Much Ado About Nothing. I give it a solid B+.

It's difficult for me to not being hyper-critical when one of my favorite creators is tackling my favorite Shakespearean play. Especially when I've both read it and seen other versions so many times.

For one, it's just difficult to judge due to this version being about an hour shorter than the original is intended. The reason I adore the play so much is that it's so playful and witty with language. That is also one of the things that I love about Whedon. But so much gets cut to make it a reasonable length for a film, that it's a shame.

It has been pointed out that this version is one of the best film versions for being able to understand what the hell the characters are saying. And that is very true. But it still struggles at some points and some of the actors seem to still be unsure of what they're saying, but it's not nearly as bad as most Shakespeare adaptations.

It also deserves props for actually taking advantage of the film medium and showing some backstory about Benedick and Beatrice, rather than leaving it all to Beatrice's speech about their past. One of my favorite things about watching Much Ado adaptations is watching it and going, "Okay, what does this version think happened between Benedick and Beatrice in the past?"

Also, Whedon does his thing of giving familiar actors new role types that they don't usually end up in. Fran Kranz as Claudio? AMAZING! Reed Diamond as a nice person? Refreshing! Sean Maher as Don John? Fantastic! Not to mention the genius twist of having a woman, Rikki Lindehome of Garfunkel & Oates no less, as Conrade- adding a new dimension to Don John's scenes and making it impossible to confuse Conrade and Borachio.

And, finally, there's also the fact that this was all done in a matter of twelve days. Not a lot of pre-production could be put into things and it's impressively slick, considering.

However... Whedon still couldn't make Acts 4 and 5 of the play make sense in a modern context, as it ruins the character of Claudio and then pretends that he did nothing wrong. While this ending is fine in a pre-women's rights world where Hero really would have little choice other than the ridiculous solution her father cooks up. But, in a modern context? Why would anyone- especially Hero- be okay with that ending after what Claudio does? And Beatrice finds herself torn between sorrow for Hero and joy for proclaimed love from Benedick- which causes a mixture of drama and comedy back-to-back that is difficult to find balance between while keeping the characters grounded.  The resolution seems even weirder in the more understated and realistic version of the story being presented in this version. Whedon chose to leave it as basic and true to the original as possible with little-to-none subtext, which left it... bizarre and kind of flat.

I think it was a bold choice but ultimately fell short. That ending really has to play like a Blake Edwards scene or a sit-com final act to work usually.

It doesn't help that the most recent production that I saw a couple years before this film was the Catherine Tate and David Tennant stage production. In which so many gags and reactions were inserted between the text that you just end up believing that the characters are crazy, that Benedick and Beatrice are treating their relationship almost like a dare, and that it's all okay.

Tennant & Tate's versions are disgusted at each other's love letters.

Acker & Denisof's versions are besotted at each other's love letters.

Back To Who: Aww, They're Adorable. Shut Up.

At this point, I'm rolling my eyes at myself- but I was ridiculously happy to see the shots in the Behind the Scenes special of the 50th Anniversary where Billie and David are just chillin' on set. On top of a giant crate. I'm assuming because Billie was stuck up there for her mark and couldn't get down easily, and David popped up on the crate beside her without an issue because it looked fun.

I don't really care about the whole Rose/Doctor thing, but those two are adorable and I'm a fan of adorable friendships.

Back To Who: The Most Adorable Anniversary Special

Peter Davison, the original fanboy-turned-Doctor, put together his own 50th Anniversary Special for Doctor Who. Unable to get Steven Moffat to return their calls, Davison, Colin Baker, and Sylvester McCoy hatch up a plan to make sure they end up in the special, one way or another. With a wink to The Five Doctors, inclusion of actually MORE THAN five doctors, some cameos that leave you laughing or crying, and a lot of adorable old men- there is little to not love here. I want a series based on this special, dammit.

Also, hat-tip to producer Georgia Tennant (as she is credited at the end, rather than Georgia Moffett) for producing and parodying herself while still actually very pregnant. That is commitment.

The short film is about half an hour long, so take some time and enjoy the sweetness of it all.

Hey, Look, The Round Things! The Day of the Doctor

Well played, Mr. Moffat. Well played.

Let's just ignore how poorly chosen the Eccleson and Davison stand-ins are, okay?

I don't even know what to say. I'm almost twelve hours late in seeing it, due to adult responsibilities. And I really shouldn't be trying to express anything about it so soon after watching but... well played. Very satisfying.

Yes, there were still issues.