I don’t know about you, but I love the stone circles that litter the English countryside. There’s something really interesting about this ancient architectural form that engages and excites my imagination. I know I’m not alone in this, and if you are such a person, Stones of Blood may appeal to you for that reason.

This four part serial originally aired October 28 to November 18, 1978. It starred Tom Baker and Mary Tamm. I could also mention John Leeson as the voice of K-9 and that it was written by David Fisher.

Strange things are afoot at a stone circle (think Stonehenge), and the Doctor and Romana proceed to investigate, a normal setup for Doctor Who. It’s not too much of a spoiler to tell you the stones have come to life and require a blood sacrifice for survival. There’s even a great scene where they find a camping couple to feed on. Yum Yum. What makes this so good though is the guest stars, few as they are, they are the ingredient that makes the first two episodes of the serial so good. Unfortunately, the story takes a turn, and goes off in a completely different direction.

As I have mentioned before, at three times during Graham Williams tenure as producer, the villain (or one of them) was a woman with weird makeup, and this is the second of those. I can’t get into guessing which of these three is the worst, because they are all bad in their own way.

Thankfully, in this case, it’s a minor detour before a more major one. I mentioned how much I like the set up in the first two episodes, but I’m less fond of the odd place this story goes toward the end. Without being spoilerish, I give kudos to Mr. Fisher for taking the tale in an unexpected direction, but question wether that direction improved the serial in any way. My obvious opinion is that it doesn’t, but I could see other people liking the silly comedic elements and overall surprise.

Technically, there’s a lot to admire about Stones of Blood. Unlike most Doctor Who stories, where location footage is on film and studio footage is on tape, this was shot entirely on tape (one wishes they’d saved the expense for a better story). Secondly, there’s a really good set that cost a lot of money in the latter part of the story. Even though I have trouble connecting the interior/exterior, as I did with the bridge of the Pirate Planet, I’m going to hand it to them for making something really special for this episode. Of course, you may have to listen to the commentary (like I did) to understand why it was so different. But even a novel set can’t save weak story and misplaced humor. Some may like it, but I suspect most will not. One thing I can guarantee though is that you will, at some point, be surprised at the turn things take. To me it’s the only redeeming thing about how this story closes.

In conclusion, if I could give two reviews, I’d give a strong recommendation for the first half and a hesitant one for the latter half. Of course, if you are watching the Key to Time season, you can’t miss this one, and I don’t think you’ll be disappointed either, except in wishing they could have kept up the quality from the beginning to the end.

What to say about this one . . . It’s the one that started it for me (which you know, if you read my last review). Had I not seen the cyborg Captain, I might have never discovered Doctor Who at all, or maybe would have, but much later. This story is far from perfect, but, having said that, it has a lot going for it thanks to an inventive script by Douglas Adams of Hitchhiker’s Guide to the Galaxy fame.

Tom Baker once agian reprises his role as the Doctor and Mary Tamm is back as Romana. This story has four parts and aired 9/30/78 to 10/27/78. It is the second story in the Key to Time season story arc.

The first episode opens with our villains (notably, the captain, yelling at Mr. Phibulie, as he does throughout this four part serial), and then introduces more supporting characters, one of whom is ill, having been targeted by a cult of yellow robe clad zombie types. It is soon revealed that they have psychic powers, which it bears noting a lot of respectable people actually believed in in, back in 1978, along with ESP and Pyramid Power. I mention that, because it would have seemed much less fantastical than it does today.

Tom Baker is his entertainingly nuttiest, sort of an early indication of how his portrayal will develop over the next few years. He’s having fun with the role, and as is the audience, right along with him. Mary Tamm’s Romana is a great foil for him, more serious and bookish. I adore her and wish she had stayed on for more than one season. As much as this is the Key to Time season, it is also the Mary Tamm season. Lalla Ward’s take on the role was different, and I don’t think I like it much less, but it seems like one is always going to like the companion one starts with more than the others. That’s the case with me, though I do have a soft spot for Elizabeth Sladen’s Sarah Jane Smith and Wendy Padbury’s Zoe, and . . . well, you get the idea.

Douglas Adams really delivers with this script. This is a very inventive tale, with twists, new tech, great characters, and lots of jokes, some stolen from himself. He had not yet sold Hitchhiker’s Guide to the Galaxy to the BBC. For those unaware, before it was a movie, or television show, or stage play, or record, or book, it was a radio drama on the BBC, and if you have never heard it, I recommend you get all five seasons (phases, they call them), as it is the very best way to experience that story, bar none. People attached to the book will note that it is quite different in sequence and substance, but remember, it is the original, so it’s the book that is the departure, not the other way around. I also think, the people in the radio cast influenced him in the book writing and helped solidify the characterizations he employed in novelizing his radio play. I honestly can’t imagine other people playing those parts though I have seen the movie. Interestingly, most of the radio cast came back for the TV production, but a limited budget ensured that that series would be severely lacking. Still, worth checking out an early visual realization of Adam’s signature creation. He had a deep imagination and a real knack for comedy and liked to say he invented the sci-fi comedy genre. I’m not sure about that, but I believe he did give us it’s greatest contribution thus far and it’s not a stretch to say his view of the world greatly influenced mine, but I digress.

Acting wise, The Pirate Planet is quite good. Almost everyone is very convincing in their roles, save the Captain, who is completely over the top. but even that works, given how his part is written, and when he later warms up and calms down. The art direction is mostly good. I don’t see the relationship between the interior and the exterior of the ‘bridge’ but like the design of both. You can see the budget limitations here and there, but mostly it all quite well done. I’ve always had an issue with the effects in this one, mostly on account of the Captain’s flying robot parrot, which only really flies -convincingly- on one occasion, a real disservice to a nicely realized robot design.

I highly recommend this one, but only to fans. There’s enough goofiness and production foibles to turn casual viewers off (he says, admitting this was his own introduction to the series, lol). It’s fun to try and spot the Adams recycled jokes and also nice to see a fairly successful Doctor Who that’s a space fantasy, because that’s not a genre Doctor Who does to often. It was surely a Star Wars influence, but not overtly so. It does drag a little in the middle, but it opens and closes with such aplomb, one ends up almost forgetting the sagging center.

I’ve waited so long to write about this, and I’m so excited to write the next six reviews. Season 16 in Doctor Who is unique in that is was the first time the show had ever attempted to do a season long story arc. One can argue how successful it was, but ambitiousness, or over ambitiousness aside, this one is very important to me.

One day, many years ago, I was flipping channels and caught a glimpse of a cyborg on PBS. I dismissed it in my mind as a trick, but clicked back to PBS, just in case it was there for real . . . And it was. It was the Pirate Planet, the second story of Season 16, and I was in shock, having no idea that PBS had a sci-fi show. Soon, I saw Tom Baker and recognized that this must be Doctor Who. I was totally disoriented. It was interesting, sure, but not riveting. Why was it shot in video? Who were these people and where was it going? I called my best friend and told him to turn it on too. If I was getting sucked into something new, I wasn’t going alone. Pirate Planet is a very odd story with multiple change ups where the villain is concerned. But probably more unsettling is the fact that Pirate Planet was written by Douglas Adams, who also wrote The Hitchhiker’s Guide to the Galaxy. If his brand of humor is new to you, it can be unsettling while you get used to it. Fortunaletly for me, my local PBS station was playing the stories out of order, so, next, after Pirate Planet was The Ribos Operation, the story which precedes it and sets up the whole season long story arc.

At the conclusion of Invasion of Time, Leela (played by Louise Jamison), decides to remain on Galifrey, leaving the Doctor companionless as The Ribos Operation opens. This story originally aired 9/2/78 – 9/23/78 and stared Tom Baker as the Doctor and newcomer Mary Tamm as Romana.

Alone in his Tardis, the Doctor is summoned by the White Guardian to seek and assemble the ‘Key to Time’. The reason being that the universe has been slipping into imbalance and needs restoration, which can only be provided by the key. The six parts of the key are scattered throughout time and space and are in disguise. To help in the quest he is given the ‘tracer’ and an assistant, Romana, a time lady from the doctor’s own planet of Galifrey.

Romana was the latest in a long line of attempts to give the doctor a companion who would be his equal, rather than the ‘cute girl who asks questions and screams at the monsters’. And, at first, Romana seems to be smarter than the Doctor, but as time goes on, she often winds up asking questions and screaming at the monsters, because, at the end of the day, those are the most important jobs for a companion on Doctor Who, as they are the on screen representation of the audience. But I digress.

The tracer leads our heroes to the planet Ribos, and this is where the real fun begins as writer Robert Holes serves up his usual high quality banter and a few really good stories. The basic premise is that a pair of con men are trying to sell the planet to a disgraced Prince, after tricking him into thinking that the planet is rich in mineral resources which he can sell and use to rebuild his army and regain his former glory. Of course, we know that there is no mineral wealth, and that the two men in question have no right to sell the planet in the first place, but that’s part of the fun in seeing how the story unfolds.

If you can’t tell, I’m a big fan of The Ribos Operation, and highly recommend it, but, it’s not without issues. This story is a kind of futuristic period piece. The costumes and sets are kind of Middle Age looking but are mixed with futuristic technology (by 1978 standards, lol). This is not bad, by any stretch, but, given the BBC’s deep well of all things period (costumes and sets), it’s clear that Ribos was done ‘on the cheap’. Plus, the monster is pretty awful, from a functional point of view. It’s not crucial to the story, and looks okay, but is totally unconvincing.

Holme’s trademark are his character pairs, and here we get two sets, the two con men, and the Prince and his general. These four characters are what make this story great and worth watching. There is lots of comedy and a good bit of drama too. The Prince is both revolting and sympathetic, a nice balance. While the con men are rendered in a way that is so friendly and slightly buffoonish, one can’t help but like them, despite the obvious criminal intention of their enterprise.

One exchange that always comes to mind when I think of this episode (paraphrasing):

Romana: Is he really a theif?
Doctor: Certainly
Romana: But he has such an honest face,
Doctor: he would make much of a thief with a dishonest face.

So, The Ribos Operation, first story in the Key to Time season story arc, super highly recommended and a pretty good bell weather. If you like this one, chances are, you are a potential fan of classic Doctor Who, if this one doesn’t float your boat, I’d abandon ship where this series is concerned.

*To learn more about Doctor Who see previous posts here on Robot Panic.

Six years ago, Oceanic flight 815 crash landed on a mysterious tropical island.  This event was the start of a fantastic journey as her passengers not only had to learn how to survive, but they had to unravel the mysteries that the island possessed.  That journey came to an end last Sunday, as millions of die hard fans (now known as Losties) gathered around their television sets to watch the final two and half our episode. 

I was one of those Losties, a somewhat reluctant viewer who got wrapped up in the mystery of this epic television experience.  Not much has been said here about the show or its final season, but I have to believe that there are more like me here and I wanted to provide a forum for fans and non fans alike to discuss the show.  That being said I know that there are a few of us who have never watched a single episode and I also know that Hilden admitted to me that he was way behind on this final season of the show.  So I will be using the Spoiler Tag in places and I encourage those who want to post on the subject to do the same.   Type the word “spoiler” in brackets, then the text you want to hide, and follow it with “/spoiler” also in brackets. 

LOST was the brainchild of Damon Lindelof, J. J. Abrams and Jeffrey Lieber and since it’s pilot in September of 2004, each episode had an average of 16 million viewers.  The two part pilot was one of the most expensive in television history, costing an average of 10-14 million (most one hour tv dramas cost around 4 million to produce).  The show received critical success and even won several emmys. 

The show had a unique way of telling its story.  In the beginning, each episode had a flashback of one of the central characters.  Here viewers would learn more about the people stuck on the island and this would create a deeper meaning and expansive mystery.  Later the writers switched this tactic and produced flash-forwards as they told the story of six people who managed to leave the island.  Finally this last season we saw the use of a flash-sideways story of a parallel time in place where none of the events ever took place.  It was this continual change of pace and the cliff hanger endings that kept viewers coming back and wanting more. 

LOST was a show that never dumbed things down for their audience.  In fact the writers did just the opposite. Many mysteries about the island, who lived there, and what was going on were revealed throughout the show. Viewers were encouraged to come up with their own answers and discuss the mystery of the island.  Many times these theories were proven wrong, and many other times viewers were left with more questions than answers. 

The show also contained several Easter eggs for its viewers to discover.  Let’s start with the names of many of the characters as they were taken from famous philosophers and scientists:  John Locke (after the philosopher) and his alias Jeremy Bentham (after the philosopher), Danielle Rousseau (after philosopher Jean-Jacques Rousseau), Desmond Hume (after philosopher David Hume), Juliet Burke (after philosopher Edmund Burke), Mikhail Bakunin (after the anarchist philosopher), Daniel Faraday (after physicist Michael Faraday), Eloise Hawking (after physicist Stephen Hawking), George Minkowski (after mathematician Hermann Minkowski), Richard Alpert (the birth name of spiritual teacher Ram Dass) and Charlotte Staples Lewis (after author C. S. Lewis).  Several mentions and throwbacks to famous works of literature were also used throughout the show, most prevalent was the Benjamin Linus referring to himself as Henry Gayle a nod to the Wizard from “The Wizard of Oz.” 
(more…)

Back on my regular beat, I’ll start by saying I really like The Sun Makers, even though I don’t expect a lot of others to do the same owing to a little bit of over-the-top acting on the part of one of the guest stars. This four episode serial aired from 11-26-77 to 12-17-77, and starred Tom Baker and Louise Jameson.

It’s no spoiler to tell you the plot involves engineering suns, stars, that is.  Specifically, 6 suns orbiting Pluto to make it habitable.  And part of the genius of this story is how much I believe it is set on Pluto with 6 suns, despite a complete lack of any visuals or effects to sell me on that fact.  That suspension of disbelief occurs on account of the wonderful writing of the super talented Robert Holmes, my nominee for best Doctor Who writer ever (see my review of Talons of Weng Chiang for more praise of Mr. Holmes)

The other central element in this story is taxes, specifically, a society so over taxed it all but fails to function any longer.  Early in the story, one of the residents of Pluto is contemplating suicide on account of his inability to pay the taxes associated with his father’s death, and the inability of a tax official to offer any relief save some advice to work more hours (on a schedule that would kill most of us).  The Doctor and Leela arrive, and he is puzzled by this extreme callousness on the part of the government, and it is understanding the mystery of the situation which motivates him to stick around.  Along the way he discovers and then joins the rebellion against the larger society of Pluto.

There are elements of Robin Hood in this story, plus 1984, Brave New World, and Metropolis.  The visual style barrows from the latter and from Aztec motifs (centrality of the Sun symbol being a major one).  I love the look of this episode, and though I said my suspension of disbelief about it being on Pluto did not come from visuals, the visuals here are still very important to the story’s feel.

Sadly, this was the end of Holmes tenure as Script Editor on Doctor Who (similar to a lead writer on an American television show).  Fittingly, he left with a bang, as this story seemed to have come out of nowhere, relative to the stories before it.  The lack of ‘bug-eyed’ monsters was noticed by many at the time of its airing, and most welcomed it like fresh air.  I can see some people criticizing the acting a little, but there is so much humor in the script, it’s hard to take it too seriously.  Mostly this is a really fun adventure with anti-tax political commentary (listen up tea baggers) served with laughs that keep it from being a stale sermon.  Highly recommended viewing for Who fans and non fans alike, though perhaps unlikely to produce Doctor Who converts.

*About Doctor Who

The classic nineties Disney hero, Darkwing Duck, is back! Well, at least in comic book form. News over at the website Inside the Magic.net reveals that Darkwing Duck will once again return to comics via Disney’s BOOM! Studios in a series called The Duck Knight Returns.

Darkwing Duck was always one of my favorite Disney characters. Mostly because of the not so clever take off on a bumbling Batman clone. However, I always thought the villains were extremely cool looking and the stories had a neat comic book spin. Of course, it’s been awhile since I’ve taken a look at them. Nevertheless, it’s cool to see Disney taking some time to revisit some of their classic cartoon franchises in this day an age of Hannah Montana and whatever other drek they happen to be peddling to kids these days.

It’s been almost 20 years, if you can believe that, since Darkwing Duck made any sort of appearance. Be that as it may, a quick scan of YouTube will net you a bunch of episodes from the half hour cartoon that used to run in the 1990′s. For those that don’t remember this character from the old Disney Afternoon days, here’s a look at the first part of Episode 1:

For those of you who do remember this classic character, you should be happy to know that you can check out a preview of the first five pages by clicking here. There is also an interview with the comic’s writer and cover artist here.

Thanks to Justin for the link!

You’ll understand why I’m posting this video after you hear this week’s podcast. Beyond that, it’s just fucking hilarious.

Stepping outside of the normal postings here, I’d like to recommend you take an hour of your evening this coming Saturday (or later on, if you can DVR it) and watch Doctor Who, The Time of the Angels on BBC America. If you haven’t heard, the 2005 relaunch of Doctor Who has a new lead actor, and a new producer, and a new, beautiful, companion (Amy Pond, played by Karen Gillan). Matt Smith has become the youngest man yet to take the role and I don’t think I’ve ever seen fans take to a new Doctor this quickly or passionately (at least what I’m hearing).

I think producer Stephen Moffat was right to hire Smith, he’s a great actor and only 4 episodes in, it feels like he’s been at this role forever, which is interesting, because unlike many of his predecessors, he was not a Doctor Who fan as a child, which is not surprising, considering the show was canceled when he was 5. Speaking of Mr. Moffat, he’s given us some of the best writing since the show came back in 2005, (Empty Child, Girl in the Fire Place, Blink, to name just a few), and one thing he never lets viewers forget is how messy time travel is. Now that he’s at the helm of the show, he’s able to revisit some of the ideas he first presented under Russel T. Davies, and this weeks Time of the Angels, is just such an occasion, where he brings back not one, but two favorites from years past, River Song and the Weeping Angels.

River Song is interesting in that she is a future love interest of the Doctor, who brow beats him like they are married, but having not yet met her in that context, and not yet fallen in love with her, it’s quite obvious that he does not like being treated this way by her. However, knowing that some future version of himself does hold her in high regard, he kind of holds his tongue around her and accepts the abuse. It’s amusing to see his character forced into that light. She’s played by Alex Kingston, who is probably most famous in America for her role on ER.

The Weeping Angels are from the very popular (and exceedingly good) episode called Blink. Stone statues so long as you observe them, super fast, fanged terrors if you blink or look away. Nice creepy stuff.

Time of the Angels reintroduces River and the Angels in a way which does not necessitate watching the stories they originated in, but if you have seen those, this story will deepen your knowledge and appreciation of both. And, as to how this reintroduction occurs, I’m hesitant to reveal anything at all about the plot, because the mysteries start piling up almost as soon as the show starts, and I have no wish to spoil this for anyone. What I will tell you to look out for is some very wonderfully classic Doctor Who with a new face, good writing, nice twists, and a great climactic setup. This episode was written by producer Stephen Moffat, so you are in very capable hands, and he delivers in this one, his strongest script yet in the new season. If you haven’t given ‘new’ Who a try, this is a great place to start. Doctor Who – Time of the Angels, BBC America, Saturday night (check you local listings for times).

I think I am going to finally pull the plug and cancel cable. I do not have Dish, Comcast, DirecTV or any of those fancy packages; just basic cable. There are only two shows I have been watching that are not on Hulu or viewable on their respective network’s website. One was a reality show I wrote about in my last article called “Bullrun”, which just had its season finale last Thursday. Congrats to Team Lambo, by the way, for winning it all. Part of me would have liked to have seen Team Hummer in the final three instead of Team NSX since Hummer were the kings of the challenge in the first several shows of the season. But NSX, Lambo and HemmeCuda put on a great show for the finale. Now please convince Goldberg and SPEED to release all the seasons on DVD, please!

The other show that is not legally viewable online I have been keeping up with is RAW, which has been a staple of mine since its inception in 1993. Lately I have been starting to watch RAW over at a friend’s pad these past couple of weeks, and in glorious HD cable to boot. WWE’s other three prime time shows: Superstars, NXT and Smackdown are all available on Hulu. As are 24 and Lost, both of which are unfortunately rolling out their final episodes over the next month or two. The Office is also available online, as are the animated shows I irregularly watch like South Park, Simpsons and Family Guy. I rarely kick back at home and channel surf, so I told myself I do not really see it being worth an extra $40-50 a month just to watch RAW.

Now if I had a family, that would be an entirely different scenario and would probably opt with some premium channels so there were plenty of options available for everyone. But for just me living by myself, aside from the aforementioned shows all being available online and the many choices to watch from Netflix Instant Streaming, I have a growing pile of movies and TV season DVDs and BluRays I need to catch up on and should tide me by for the foreseeable future.

So my question is: is anyone of the Robot Panic community in the same situation I am in? Do you find it worthwhile to keep cable, or just ditch and watch your shows through DVDs, Netflix and the series of tubes? Part of me was thinking this would be a growing trend, but I ran into an old acquaintance at a bar a couple months ago who is now a cable installer. I asked him if they have been getting more people than average over the past couple years canceling cable with the emergence of Hulu, Netflix Instant Queue, etc. To my surprise he said installation rates are actually on the rise. Since I am not as plugged in as I thought I was to cable trends I find myself mighty curious how others digest their cable. So what say, you RP community? How do you consume your television?

I’m afraid this one is going to be short, as I can think of very little to say about it, it’s not that it’s bad, it’s quite enjoyable in the moment, but unlike some other Doctor Who serials, it’s impression is not lasting on me. Image of the Fendahl originally aired 10-29-77 to 11-19-77 with Tom Baker as the Doctor and Louise Jameson as Leela, while K9, the new robotic companion, barely makes an appearance in the story.

This one begins with the discovery of a human skull that predates the existence of humans on the planet. This is a great premise in my opinion, and I only wish the rest of the story lived up to it. The skull is actually a relic of the Fendaleen, an ancient race that feed on the ‘life force’ of others, sucking them dead, so to speak. It was so powerful, it destroyed all life on it’s home planet before finding its way to Earth. If this sounds interesting, don’t be fooled by the premise, as the four episodes which make up this tale don’t begin to live up to all that potential. Except, that Tom Baker is so damn good at his job, when he says there are four billion people on the earth, but he expects, in one year, that there will only be one, it is quite chilling. And that begins to hint at the charm of this story. There is a lot to like along the way, but I find myself more disappointed than enthusiastic when talking about Fendahl.

More of a downside, this is one of three adventures during Graham Williams tenure as producer, when one of the main villains is a female with some crazy makeup scheme who looks, otherwise, completely human. I mention that because although he did it three times (see Stones of Blood and Creature from the Pit), I can’t thank of any other period until the modern (post 2005) one when that type of design was used (though I’m probably just forgetting some). And, if it was done once, it’d be just fine, but three times in as many years, seems a bit much.

There are some great one liners, upon discovery of a corpse, Dr. Fendahl asks what kind of corpse it is to which he’s told, “a dead one, what other kind is there?” So, it’s hard to fault the writer, Chris Boucher, for a ‘bad’ story in this case, especially when he’s done other good work, like Face of Evil and Robots of Death. Image of the Fendahl is not a bad story, however it does suffer from two weaknesses. The first is how the Fendahleen requires certain things to come into play for it to be resurrected, granted, the story explains it set these wheels in motion millions of years ago when it first landed on Earth, but it still feels a little too convenient. Second is the anti climactic appearance of the ‘monster’ which I sort of covered discussing the ‘makeup’ issue earlier. There is nothing really, in the production as a whole to prevent this from being one of the very best Doctor Who stories, yet it doesn’t even come close to living up to that potential, which is sort of sad. So I have to give this a very mild recommendation. There are moments that make it a near ‘must watch’ but overall it’s one I tend to forget quickly after watching it.

*About Doctor Who

Doctor Who is a British sci-fi show which aired from 1963 – 1989 and again from 2005 to the present. In the UK, it is ubiquitous, watched by boys and girls, men and women, ages 9-99, most people, even if they are not watching, know what’s happening in the show each week. It typically airs in the early evening on Saturdays, right after the sports finish up.

Doctor Who in America is a bit more divisive. Some fans love it, while a lot of people in the genre community can’t stand it. It’s easy, even for fans, to understand this schism, because the show has a lot of rough edges, on account of low budgets and quirky temperament.

In Doctor Who, the main character, the Doctor, wanders the universe through time and space, in a telephone booth called the Tardis, which is larger on in the inside. He cannot completely control the Tardis, and often doesn’t know where he’s going or where he is. He is usually accompanied by a companion or more and they are usually female, though some have been male and/or robotic.

Originally it was to have been a time traveling educational show for kids, but the show’s first producer, Verity Lambert, keen on making a career for herself with a ‘hit’ show, gave it her own spin, downplaying the historical aspect, upping the sci-fi, and gearing it towards all audiences, instead of just children. This tradition continues today.

I am in the process of watching every episode of Doctor Who in chronological order (where those episodes have been destroyed, I am watching one of the recons). I have been at it for a couple of years and expect to be at it a couple more. I may occasionally post reviews out of order, but mostly I’m going to post them as I watch them.