The film sees Catherine as a feminist crusader who undermines the sexist traditions of her time.
At some point the Season Four finale of Doctor Who, “Journey’s End,” will stand on its own.
“The Stolen Earth” is a wonderful and sometimes frustrating episode.
Imagine a Sex and the City character with Carrie’s personality and Samantha’s sex drive.
After more or less trashing “Voyage of the Damned” last week, it’d be all too easy to start a trend by picking apart Season Four’s first proper episode.
The idea that Rose’s travels with the Doctor in some bizarre way brought her family back together is potent stuff.
As “The Impossible Planet” drew to a close and “The Satan Pit” begins, two deaths occur: A pair of redshirts take it for the team.
Structurally and dramatically the two-parter occupies the same space as “The Empty Child” two-parter did last season.
“The Idiot’s Lantern” is the halfway point of the second season of Doctor Who, and as such there’s a transitional feel to the proceedings.
“Rise of the Cybermen” marks the return of the titular foes that occupy the #2 spot (after the Daleks) on the Doctor’s list of most oft-encountered enemies.
“The Girl in the Fireplace” may be the crowning achievement of Doctor Who’s second season.
Despite being the 10th Doctor story and the debut of the season two production block, “The Christmas Invasion” feels like a coda for season one.
Doctor Who isn’t just a TV show, it’s a way of life.