Kopic's Doctor Who & Torchwood News |
| Week Ten: "Who Actually Likes This Programme, Anyway?" Posted: 14 Jun 2008 09:17 AM CDT The final, epic question about the future of That Thing On Saturday Nights Before The National Lottery. I've asked a lot of questions over the last ten weeks, some of them quite big, at least by the standards of a world as small and unthreatening as fandom. I've asked whether our view of "historical" stories actually has anything to do with history; whether the shift in BBC drama from stage-plays-for-television to Hollywood-movies-for-television inevitably means a change in the programme's message; whether a story about dinosaurs at the Earth's core would be more interesting than "The Runaway Bride" (I believe this is what young people call "a no-brainer"); whether Doctor Who has ever really been scary at all, or whether the nation's children just want to play at being scared [see Footnote 1]; and whether Moffat is honestly the best man for the job, or whether we're all going to end up as eunochs in his personal harem, rolling cigars on our voluptuous thighs while he sups fine liquor from the faces of concubines in Hath masks. The answers I've supplied to these questions have sometimes been controversial, though apparently not as controversial as the incidental abuse of other writers. But we've known each other for a while now, and I think it's fair to say that I can't say anything to surprise you any more. In which case, here's the big one. It's a query that seems apt this week, since "Midnight" is the episode which sees our leading man ditching his celebrity sidekick, and since Jonathan Miller has (unintentionally) raised certain questions about the way this series is perceived. It's this: How far are we past the point where David Tennant should sod off? As you can see, I've been quite careful in loading this question, a la "have you stopped beating your wife yet?". It's based on the assumption that even if the answer is "no", then he should obviously leave the series now, and this in itself is a fun-size heresy. But that alone should tell you something. Naturally, any Doctor Who fan who grew up in the 1980s will be familiar with the sensation of wanting a specific Doctor to go away, and even Peter Davision elicited disapproval from those who favoured someone older, taller, or in some other way more like Tom Baker. Yet even in the days of Mad Tom himself, it wouldn't have been considered such a faux pas to suggest that the lead actor is no longer doing the series any good. And with that in mind, I should make my position clear right now. I have no criticisms of the Boy Tennant, in himself. His work has been exemplary. He's brought an enthusiasm to the job which is rare for any actor in any production, and when the scripts have failed, he's virtually held the programme together single-handed. That's the problem. If we're going to understand what the writers of this series have forced Tennant to become, then we have to understand that this is the first era in which the creators of Doctor Who are agonisingly aware of its reputation. The old-style, hand-crafted series was almost always made on the fly, and even at its ratings peak in the late '70s, nobody expected it to be on the cutting edge of popular culture. This was never a "flagship" programme until 2005. In the first two decades of its existence, it was considered perfectly normal to hire writers who didn't watch the series, didn't know anything about its history, and didn't have any ambition to write dialogue for Cybermen. On the plus side, this gave us Robert Holmes. On the minus side, we got Bob Baker and Dave Martin. The point is that since early Doctor Who was a make-do-and-mend affair, designed to be shown once on BBC1 rather than endlessly repeated on BBC3 or sold off as a DVD boxed set, there was no sense that writers should be aware of what had gone before. In fact, it could be a positive boon if they weren't, since it let them bring their own thing to the party. Look at the episodes that survive from the black-and-white epoch, and you'll see the Doctor developing new tricks all the time, as the actors and scriptwrights start to integrate new ideas into the performance. Since we've mentioned Robert Holmes, let's remind ourselves that he had no interest in the programme at all until he started subverting it. His scripts from the '70s were a reaction against what he considered to be "normal" Doctor Who, not a celebration of it. It should be fairly obvious that this sort of thing is no longer possible. Any new writer on the series in the Davies-going-on-Moffat era is likely to be a fan, or at the very least, ultra-sensitive to the idea of what modern-day Doctor Who is "supposed to do". David Tennant has suffered from this even more than we have. His version of the Doctor has become a series of catchphrases, set-pieces and in-jokes, to the point where it takes a script as outré as "Midnight" to break the pattern. ("Outré" by modern standards, obviously. This is closer to the kind of television we had in the 1970s than any Doctor Who made since the 1960s, if you can unscramble the logic of that.) It's not the skills of the actor that are at fault, it's simply the way he's been used - abused, even - by the stories. Doctor Who scripts are now beginning to look like checklists of Tennant-Bites. In its most blatant form, this has involved what we'll politely call "references", although that's obviously a euphemism for "things we've already seen done to death". Many of these exist purely to keep the fans happy, in much the same way that "Attack of the Cybermen" was meant to keep the fans happy. When the Doctor's "no, don't… don't do that" gag from "Tooth and Claw" gets a repeat performance in "The Shakespeare Code", it seems needlessly cynical, as if the modern programme is already relying on its own mythology. When Gareth does exactly the same thing again in "The Unicorn and the Wasp", it's not just embarrassingly unfunny but borderline insulting, although it's almost excusable if you treat it as a reminder for non-fans before "Midnight" turns the running gag into something rather more disturbing. Note that I say most blatant, not worst. You can at least try to ignore an in-joke, but it's so much more distracting if a Tennant-Bite turns up during a key moment in the story. You'd be forgiven for not being able to remember what actually happens at the end of "Forest of the Dead", because it's so cluttered with Tennant-era clichés - talking very quickly while re-wiring the electronics, banging the side of a piece of machinery while shouting "no no no no!", urgently trying to convince this week's New Woman In His Life not to sacrifice herself, doing his "everybody I care about dies" routine when he fails - that the narrative is almost completely obscured. But if we want to examine the most telling, most egregious example, then we have to look to "The Doctor's Daughter". The lead character's "climactic" speech to the colonists, with its almost impressively unconvincing gun-to-the-head moment, is so inept that it's hard to believe the programme even has a script editor any more: the author has seen a selection of Tennant-Bites, most obviously the face-off against the Sycorax in "The Christmas Invasion", and written something that looks similar but lacks any of the wit, tension, or flair for language. "Make the foundation of this society a man who never would" is, in itself, deserving of some kind of award for being the most misjudged attempt at rousing rhetoric since Jeffrey Archer appeared on Question Time [see Footnote 2]. Yet the finished production just about gets away with it, purely because Tennant's performance is so self-assured that we can still believe he's wise, noble and world-changing, despite the garbage that's coming out of his mouth. The writers may seem determined to make him repeat the same tricks over and over again, like a freakishly sexy performing monkey, but it's a testament to his abilities that he still manages to retain some sense of passion. Raw enthusiasm is carrying this show, not the writing. But for all his merits, we can't lose sight of the fact that the very presence of Tennant has distorted the shape of the programme. For the first time, we have a Doctor who's as much a celebrity as an actor, a Doctor who's become a non-ironic national sex-symbol, a Doctor who's an icon of something stylish and… whatever word teenagers use to mean "groovy" these days. Jonathan Miller's pooh-poohing of him was grossly unfair, but it does underline the point that many people see Tennant as a star name rather than a performing artiste. And this means that the Doctor himself is the focus of the series, rather than the places he visits. Some of us have been worried about this ever since 2005. Doctor Who is, in at least one version of its grand philosophy, a programme about exploration and empiricism: finding out how other people might live, how other cultures might think, how other worlds might fit together. It goes without saying that in "The Doctor's Daughter", the world we're visiting is such a side-issue that the mystery of how the colony was built is explained in one long, clunky sequence of revelatory babble, while Murray Gold supplies fast-paced "plinkety-plonk" music in case the talky scene seems boring after all the gunfights. The "exploration" side of the experience has never been sidelined to this degree before. Even when the series was slaved to Tom Baker's ego, and the plots were secondary to the lead actor's attempts to hog the camera, we didn't have anything comparable. Because now, it's not even the Doctor's actions we're supposed to be interested in, but his private life. We've been primed to believe that this new "emotional" version of the Doctor is obviously an improvement. According to received wisdom, this is how telefantasy has to work these days, and the Mark One series obviously got it wrong: it's not enough for someone to explore the universe, he also needs to agonise about his feelings and occasionally break down in tears. Certainly, this is the way Tennant has been groomed over the last three years, but there's an awful lot of faulty thinking here. Firstly, it assumes that this teardrops-and-robots approach has been shown to work. Well, Buffy was good for the first few years, but… sorry, didn't that work because it was about teenage angst? And didn't it work, as I've said so many times before, purely because all the monsters were extensions of the characters' own adolescent crises? How does forcing David Tennant to look lonely every few weeks qualify Doctor Who as the same kind of programme? When Star Trek: The Next Generation first brought this self-indulgent mixture of SF imagery and over-the-top "emoting" to the BBC in the 1990s, everybody hated it, especially after Channel 4 started showing Babylon-5 in the same kind of time-slot. (This week on Babylon-5: a half-glimpsed horror from the dawn of creation reaches across the galaxy and tricks the whole of human civilisation into becoming cannon-fodder in its ultimate War of Armageddon. This week on Star Trek: Counsellor Troi remembers how distressing it was when her periods started. Go on, guess which one we preferred.) The second problem is the definition of "emotional". In truth, what we're being presented with here isn't emotion as much as it's a pretext for soap opera. Since Tennant is every fangirl's favourite time-puppy, it makes sense to mine him for sexual tension, or just to find excuses for him to start relationships with girls. As a result, there's a New Woman In His Life every few weeks. Most of them die, although a few are promptly resurrected, to make sure we get both the "sad" and the "feelgood" kicks. Sometimes the resurrection is only temporary ("Voyage of the Damned"), but it's always spurious. It's rumoured that Steven Moffat himself stepped in and asked whether Jenny could come back to life at the end of "The Doctor's Daughter", apparently forgetting that he was scheduled to do exactly the same thing three episodes later. Are we quite sure that this is the "proper" way of making television in the modern age…? I personally don't know anyone in the "real" world, i.e. anyone apart from hardcore fans (who can obsess themselves with the continuity issues) or people who work for listings magazines (who can somehow manage to be impressed by the presence of an actress from ER), who felt even remotely engaged by Professor River Song. Most people I know said they just found her irritating, but we'll come back to the public reaction later [see Footnote 3]. The key point is that this programme is turning into Sex in the City with walking skeletons. If, indeed, that isn't what Sex in the City is. By now, it should be obvious that putting an "emotional" Doctor at the heart of the series will inevitably warp the nature of the stories. What's less well-recognised is the way it warps the nature of the character, and what he's supposed to represent. The fact is that if they want to fulfil their quota of contrived pathos and tragedy-by-numbers, then the writers have to force the male lead to act in a variety of inconsistent ways. A handful of you may remember what I said about "The Impossible Planet", two years ago now. One of the ninety-two things which horrified me about this story - or "minutes", as they're also known - involved the notion that when the Doctor and Rose lose the TARDIS down a big hole in the ground, they behave as if it's the most appalling thing that's ever happened, and seriously believe themselves to be stuck in this time-zone forever. What?!? It's just a hole, for God's sake! In the unlikely event that they can't find a way to recover the TARDIS with the equipment on the Sanctuary base, all they have to do is get a lift back to the nearest Earth colony, make a small fortune by hiring themselves out as technical consultants / using the sonic screwdriver to give themselves an unlimited credit rating (as in "The Long Game") / robbing the nearest available Evil Corporation, then finance another expedition to the planet with proper lifting equipment. That should take the Doctor, what, a few months at most? An extended holiday in the fifth millennium, basically. (Come to think of it, there's so much filler in the story that they could easily have done something like this as a three-minute epilogue… no, that would have required imagination, wouldn't it?) Instead, Our Heroes break down in tears and start hugging each other. You're not fooling me, what have you done with the real Doctor and Rose…? The agenda is plain, though: even after killing off the station's Token Sacrificial Young Woman, Matt Jones still wants to press the point that this is a "downbeat" story, so it's necessary to have the Doctor act like a shadow of himself in order to hit the right note of tragedy. And if this sort of thing was a problem in 2006, then now… well, just look at "Forest of the Dead" again. Despite being a testament to the Doctor's wonderfulness that ends up sounding like an overwrought love-letter from a fan (a standard Moffat technique to get fandom on his side, which he's been using ever since he appropriated Paul Cornell's "neither cruel nor cowardly" line for "The Curse of the Fatal Death"), the need to supply us with another Woman In His Life requires the Doctor to act out-of-character for much of the story. Which is to say, out-of-character for any of his incarnations. Presented with a friend from his own future, any Doctor I'm familiar with would (a) be delighted, (b) point out that this sort of thing is likely to happen quite often, and (c) instinctively trust her, while maybe keeping an emergency plan in his the back of his mind in case she turns out to be an alien shapeshifter of some description. That's what the Doctor does: it's in his very essence to expect the best from anyone he meets, and even the William Hartnell version would have greeted someone like River Song with a smiling 'ah, but you see, my child…' But, no. In fact, it takes the Doctor longer than the audience to work out who she is and what she represents, and he then wastes whole scenes snapping at her and demanding to know who she is. This is justified with the suggestion that River Song has hit some kind of (unexplained) raw nerve, but the real reason is that if you've got a Doctor whose private life is more important than his adventures, then you've got to have "angst". The fact that these "angst" sequences are both tedious and pointless is something we're not supposed to mention, because in the Desperate Housewives era, there's an implicit understanding that this is how "emotional" television is made (by which logic, the filler argument scenes in "Inferno" should be the most "emotional" thing in olde worlde Doctor Who). Nor are we supposed to notice that the entire nature of the character has been perverted. And I don't mean "perverted" in the fun way, either. Even "Midnight", a script that goes out of its way to make the Doctor do something different, suffers the hangover of the same problem. Once again, we see him forming an emotional bond with a female guest-star. On this occasion, there's not a hint of UST, but the story turns up at exactly the wrong time. Over the last six-weeks-plus-Eurovision, we've had a two-parter that settles his relationships with his two female companions, a one-off about his cute daughter, a one-off about a "strong" female historical personality, and a two-parter involving a future companion-cum-lover. And next week we've got another episode about his relationships with two female companions, post-mortem or otherwise. It wouldn't have been so bad if Sky Sylvestry had been a man, and yet… now I've said that, focus on your instant gut reaction to it. You may well be thinking, "yes, but that would look a bit gay". If so, then this should tell you the whole story: everything the sexy Tennant Doctor does has to look like a form of flirting. More than anything else, that's what the programme is now "about". Not exploration, not adventures, but… flirting. And even when the relationship is a non-sexual one, there's usually an implied schoolgirl-crush element, which is why the Doctor is only seen to engage with little girls and not little boys. I say "non-sexual", although one of those little girls insists on snogging him as soon as she meets him as an adult, which might be considered an extreme reaction to someone who once popped out of your fireplace and looked under your bed when you were eight. If the Doctor is Father Christmas, as Moffat tells us in "The Doctor Dances", then he's the Father Christmas it's okay to lust after. Just as soon as you're old enough. Of course, there's a large part of fandom - and not just the female / gay part, either - which can't get enough of this sort of thing. But then, these are the people whose idea of the perfect Doctor Who story would involve the Doctor stripping to the waist and wrestling with Captain John Hart… and the reaction of fandom is, horrifying as it may seem, an important factor here. Opinion is still divided as to whether Russell T. Davies (OBE) pays any attention to the voice of on-line geekery, although at the very least, we can assume that it doesn't affect his judgement as much as the Radio Times coverage does. But we know for a fact that Steven Moffat lurks around the internet, because after all, the bugger's got nothing better to do at weekends than make badly-thought-out criticisms of my blog when I give him mediocre reviews. And Moffat wants us to adore him, which means making us sigh dreamily at the beauty and wonder of Our Doctor, as if David Tennant were a squidgey little voodoo doll through which he can absorb our love-vibrations. Oh, the slash-fic possibilities. We've already established that the entire Mme de Pompadour romance was a calculated effort to put fangirls in the mood for some hot, hot lovin' ("The Fire in the Girly-Place"…), but River Song's final elegy to the Doctor is almost as overwrought as Stephen Greenhorn's "a man who never would" scene, and it doesn't help that she ends up in an afterlife that looks like a Steps video. A side-issue here… Moffat's intention is, and always has been, to present the Doctor as God as well as Santa. As we may have gathered from the "Fatal Death" line about saving every planet in the universe X times over, the author's logic is that since the audience knows how omnipresent the Doctor is, this should be reflected in the world/s around him. It's a workable idea, even if it's anathema to the original "exploration and empiricism" concept: the Moffat Doctor already knows everything, and never has to work anything out. Crucially, though, he's a cult figure in his own universe as well as ours. This is another sign that Moffat is deliberately pitching the show at a fan-audience (q.v. the Fifth Doctor's wholly out-of-character "are you a fan?" dialogue in "Time Crash", or the way "Silence in the Library" keeps going on about "spoilers", a word that isn't generally used outside fandom), but what we eventually end up with is the Doctor defeating the Vashta Nerada by saying "do you know who I am?", which is really just a massive cop-out disguised as an Iconic Moment. By this point, the "shadows" part of the story has served its purpose, and the script is more interested in the "tragic death and upbeat resurrection" part, which is why the writer has to contrive an unexpected auto-destruct sequence three-quarters of the way through. Then Our Hero obtains the power to open the TARDIS doors with a click of his fingers, the first step in an apotheosis that's precisely judged to make Tennant-groupies start giggling with joy [see Footnote 4]. So the magnificently cynical ending of "Forest of the Dead", if not the entire River Song strand of the plot, was aimed at you rather than the general audience. Even Alison Graham, whose Radio Times review of "The Girl in the Fireplace" was along the lines of "I couldn't understand it, but how romantic", found this episode baffling rather than moving. And since this argument is bound to start trouble at t'newsgroups, I'm immediately going to try to stop the playground fight by running to my mum. No, seriously: as a literate seventy-something-year-old woman, who has a nostalgic devotion to the Tom Baker version of the Doctor but no notion of modern-day "sci-fi", her opinion is useful if you want to see past all the clutter and self-obsession of fandom. A quick survey reveals that although she particularly liked "Smith and Jones", because the rhino-people on the moon were funny and exciting, she has no interest in the Moffat / Greenhorn vision of the series at all… because she can't understand why a programme that's meant to be about adventures in time and space should be so gushingly sentimental. If she wants that sort of thing, then she'll watch Holby City, like everyone else. Well, how can I explain it to her? "Yes, but you see, that's how it's done these days. Fandom has gone for this sort of thing ever since Buffy, and the writers want to appeal to that audience, so… you're not following this, are you? Look, do you know what the word 'squee' means?" What we have to remember is that we in Geek World, being the type of people who find it much easier to get involved in silly television programmes, also find it much easier to surrender when someone points a gun at our collective head and insists that we should cry. I've already suggested that the "emotional" version of Doctor Who isn't really emotional at all, which is why I've had to use the words "contrived" and "cynical" so many times over the last couple of weeks, but here's the clincher: to an audience that doesn't already h  | ||
| Posted: 14 Jun 2008 08:17 AM CDT Russell T Davies has been awarded OBE for "services to drama". Congrats RTD! He deserves it - Where would we be without our Doctor Who, Sarah Jane Adventures and, of course, Torchwood.  | ||
| TV REVIEW: Doctor Who 4.10 "Midnight" Posted: 14 Jun 2008 08:00 AM CDT Written by: Russell T Davies Directed by: Alice Troughton Rating: THE ONE WHERE Donna soaks up the rays while the Doctor finds himself on an Awayday to Hell. Whatever possessed you…? VERDICT Russell T Davies beautifully...  | ||
| Posted: 14 Jun 2008 07:56 AM CDT Rose Tyler returns, The Doctor goes walkies and Donna&os;s life changes drastically. Read on for more info.  | ||
| Posted: 14 Jun 2008 07:56 AM CDT A poor ending lets down an intriguing and creepy story containing a great turn by Lesley Sharp.  | ||
| Posted: 14 Jun 2008 07:56 AM CDT A trip on a space truck proves to be a close shave with death for The Doctor when a passenger becomes possessed.  | ||
| Posted: 14 Jun 2008 06:55 AM CDT Episode commentary is from Sound Recordist Julian Howarth, Supervising Sound Editor Paul McFadden and 2nd Boom Operator Bryn Thomas.  This posting includes an audio/video/photo media file: Download Now | ||
| Davies: 'My OBE is good for British TV' Posted: 14 Jun 2008 02:52 AM CDT Russell T. Davies says his OBE will benefit UK TV drama.  | ||
| This Week In Doctor Who - June 14, 2008 Posted: 14 Jun 2008 01:09 AM CDT Three Weeks Till Journey's End THIS WEEK IN DOCTOR WHO June 14, 2008 - Vol 11, No 23 The weekly guide to Doctor Who and Sarah Jane broadcasts worldwide. by Benjamin F. Elliott http://groups.yahoo.com/group/thisweekindoctorwho http://groups.yahoo.com/group/torchwood Section A - Everything But The PBS Stations Upcoming premiere broadcasts: Saturday 14 June: BBC One 7:10PM BST - Midnight BBC Three 7:55PM - DWC - Look Who's Talking (45 minutes) Sunday...  | ||
| Torchwood This Week - June 14, 2008 Posted: 14 Jun 2008 12:51 AM CDT TORCHWOOD THIS WEEK June 14, 2008 - Vol 2, No 23 The weekly guide to Torchwood transmissions. by Benjamin F. Elliott http://groups.yahoo.com/group/torchwood  | ||
| Posted: 14 Jun 2008 12:49 AM CDT Congratulations to RTD on his being awarded an OBE for his services to TV drama! Check Google news for widespread coverage  | ||
| (Fixed) This Week In Doctor Who B - June 14, 2008 Posted: 14 Jun 2008 12:48 AM CDT THIS WEEK IN DOCTOR WHO June 14, 2008 - Vol 11, No 23 The weekly guide to Doctor Who boadcasts worldwide. by Benjamin F. Elliott  | ||
| This Week In Doctor Who B - June 14, 2008 Posted: 14 Jun 2008 12:46 AM CDT THIS WEEK IN DOCTOR WHO June 14, 2008 - Vol 11, No 23 The weekly guide to Doctor Who boadcasts worldwide. by Benjamin F. Elliott  | ||
| This Week In Doctor Who A - June 14, 2008 Posted: 14 Jun 2008 12:44 AM CDT Three Weeks Till Journey's End THIS WEEK IN DOCTOR WHO June 14, 2008 - Vol 11, No 23 The weekly guide to Doctor Who and Sarah Jane broadcasts worldwide. by  | ||
| Davies: 'My OBE is good for British TV' - Digital Spy Posted: 13 Jun 2008 08:58 PM CDT
 | ||
| TV stars honoured in Queen's birthday list - InTheNews.co.uk Posted: 13 Jun 2008 08:25 PM CDT
 | ||
| Posted: 13 Jun 2008 07:53 PM CDT
 | ||
| Funnygirl gets a gong - Manchester Online Posted: 13 Jun 2008 07:36 PM CDT
 | ||
| Queer as Folk creator receives an OBE - PinkNews.co.uk Posted: 13 Jun 2008 06:37 PM CDT
 | ||
| Unsung heroes rewarded in Queen’s honours - ChronicleLive Posted: 13 Jun 2008 06:36 PM CDT
 | ||
| CBE for TV veteran Des - ITV.com Posted: 13 Jun 2008 06:09 PM CDT
 | ||
| Calzaghe ko'd by CBE - ic Wales Posted: 13 Jun 2008 06:05 PM CDT
 | ||
| TV stars top honours list - Famagusta Gazette Posted: 13 Jun 2008 05:49 PM CDT
 | ||
| Gongs galore for city heroes - Edinburgh Evening News Posted: 13 Jun 2008 05:48 PM CDT
 | ||
| Honors for architect Richard Rogers, writer Margaret Drabble ... - Mainichi Daily News Posted: 13 Jun 2008 05:37 PM CDT
 | ||
| O'Connor, Brown honoured by Queen - Digital Spy Posted: 13 Jun 2008 05:36 PM CDT
 | ||
| Calzaghe ko’d by CBE - ic Wales Posted: 13 Jun 2008 05:21 PM CDT
 | ||
| Posted: 13 Jun 2008 05:21 PM CDT
 | ||
| Travel Briefs - Ithaca Journal Posted: 13 Jun 2008 04:58 PM CDT
 | ||
| ARE you still reeling from the conclusion of the recent two-parter ... - Liverpool Echo Posted: 13 Jun 2008 04:25 PM CDT
 | ||
| Birthday Honours knock-out for Calzaghe - ic Wales Posted: 13 Jun 2008 04:21 PM CDT
 | ||
| Who Fans Await News of Doctor's Daughter Spinoff - Wired News Posted: 13 Jun 2008 04:21 PM CDT
 | ||
| HONOUR IS JUST WHAT DOCTOR ORDERED - South Wales Evening Post Posted: 13 Jun 2008 03:31 PM CDT
 | ||
| Anrhydedd i Calzaghe a Davies - BBC News Posted: 13 Jun 2008 03:26 PM CDT
 | ||
| Bramley timelord tries to defy laws of gravity VIDEO - Bramley Today Posted: 13 Jun 2008 02:57 PM CDT
 | ||
| Des O’Connor leads list of stars to get gongs, but there’s nothing ... - Press and Journal Posted: 13 Jun 2008 02:53 PM CDT
 | ||
| O'Connor and Wood head honours list - Leamington Spa Today Posted: 13 Jun 2008 02:44 PM CDT
 | ||
| AfterElton Snapshot: Your good luck charm for the week ending ... - AfterElton.com Posted: 13 Jun 2008 02:41 PM CDT
 | ||
| LSE's Furse, London's Snyder, Architect Rogers Get UK Honors - Bloomberg Posted: 13 Jun 2008 02:22 PM CDT
 | ||
| O'Connor and Wood head honours list - Lisburn Today Posted: 13 Jun 2008 02:13 PM CDT
 | ||
| Joe’s finally knocked out... by his CBE honour - Daily Post Posted: 13 Jun 2008 02:12 PM CDT
 | ||
| O'Connor and Wood head honours list - Bridlington Today Posted: 13 Jun 2008 02:09 PM CDT
 | ||
| O'Connor and Wood head honours list - Grimsby Evening Telegraph Posted: 13 Jun 2008 02:01 PM CDT
 | ||
| Datebook for June 14 - Craig Daily Press Posted: 13 Jun 2008 01:15 PM CDT
 | ||
| Posted: 13 Jun 2008 01:00 PM CDT Russell included in Birthday Honours.  | ||
| O'Connor and Wood head honours list - Whitby Today Posted: 13 Jun 2008 12:24 PM CDT
 | ||
| O'Connor and Wood head honours list - Bexhill Observer Posted: 13 Jun 2008 12:20 PM CDT
 | ||
| I've Dot An Mbe - Glasgow Daily Record Posted: 13 Jun 2008 12:02 PM CDT
 | ||
| O'Connor and Wood head honours list - Yeovil Express Posted: 13 Jun 2008 11:50 AM CDT
 | ||
| O'Connor and Wood head honours list - Yorkshire Evening Post Posted: 13 Jun 2008 11:47 AM CDT
 | ||
| O'Connor and Wood head honours list - Winsford Guardian Posted: 13 Jun 2008 11:45 AM CDT
 | ||
| O'Connor and Wood head honours list - Congleton Guardian Posted: 13 Jun 2008 11:44 AM CDT
 | ||
| O'Connor and Wood head honours list - Preston Citizen Posted: 13 Jun 2008 11:43 AM CDT
 | ||
| O'Connor and Wood head honours list - Mid Devon Star Posted: 13 Jun 2008 11:41 AM CDT
 | ||
| O'Connor and Wood head honours list - Hereford Times Posted: 13 Jun 2008 11:41 AM CDT
 | ||
| O'Connor and Wood head honours list - Crewe and Nantwich Guardian Posted: 13 Jun 2008 11:40 AM CDT
 | ||
| O'Connor and Wood head honours list - Chorley Citizen Posted: 13 Jun 2008 11:40 AM CDT
 | ||
| Who Wouldn't Want To Work With The Doc? - Glasgow Daily Record Posted: 13 Jun 2008 11:38 AM CDT
 | ||
| Let's play Ball! All-Star Weekend to benefit ALS - CNW Telbec (Communiqués de presse) Posted: 13 Jun 2008 11:12 AM CDT
 | ||
| O'Connor and Wood head honours list - Coleraine Today Posted: 13 Jun 2008 10:51 AM CDT
 | ||
| Torchwood - The Complete 1st Series - TVShowsOnDVD.com Posted: 13 Jun 2008 09:59 AM CDT
 | ||
| Davies hopes OBE will help TV drama - Deeside Today Posted: 13 Jun 2008 09:44 AM CDT
 | ||
| Doctor Who: The Unicorn and the Wasp - TV Squad Posted: 13 Jun 2008 09:15 AM CDT
 | ||
| 'Who' is changing the face of British TV? - International Herald Tribune Posted: 13 Jun 2008 06:09 AM CDT
 | ||
| Criminal Justice given five-night sentence - guardian.co.uk Posted: 12 Jun 2008 01:47 PM CDT
 |
| You are subscribed to email updates from Kopic's Doctor Who and Torchwood News To stop receiving these emails, you may unsubscribe now. | Email Delivery powered by FeedBurner |
Inbox too full?  Subscribe to the feed version of Kopic's Doctor Who and Torchwood News in a feed reader. | |
| If you prefer to unsubscribe via postal mail, write to: Kopic's Doctor Who and Torchwood News, c/o FeedBurner, 20 W Kinzie, 9th Floor, Chicago IL USA 60610 | |
No comments:
Post a Comment