DONNA THE TOTAL BEST is wearing a business suit and walking purposefully through a busy street. The Doctor is walking in the opposite direction. They both end up in front of the same building: Adipose Industries.
Donna walks in the main entrance and the Doctor sonics his way through a back door. Donna flashes an ID to a security guard and says she's from Health and Safety. The Doctor does the same, flashing his psychic paper. Neither of the guards these two encounter look particularly interested anyway.
We start on a static-y screen. A cheerful news reporter says that there are reports of a stockpile of cars and carjacking. We zoom out and see that we're in a vehicle of some sort and this couple is at the helm:
Kirsti: A+ description.
Mari: I'm almost sure that is really what they were going for? I can't imagine why but it had to be purposeful.
Something is banging up against their vehicle, growling. Ma American Gothic is freaking out while Pa American Gothic assures her that the police are on their way.
Kirsti: A+ description.
Mari: I'm almost sure that is really what they were going for? I can't imagine why but it had to be purposeful.
Something is banging up against their vehicle, growling. Ma American Gothic is freaking out while Pa American Gothic assures her that the police are on their way.
London, 1599. A guy with a terrible hair cut plays the lute and sings to a woman leaning out of her window. It's all very Romeo and Juliet. She looks incredibly familiar, and that's because she's Blanche Ingram from the BBC's 2006 version of Jane Eyre! (M: AHHH!) She also played Caroline Bingley in Lost in Austen. (M: Less exciting.) She informs him that after his amazing singing she's totally DTF and he rushes upstairs.
When he gets to her room, he's weirded out to see that it's full of creepy magical looking stuff. She kisses him, and turns into a crone with pointy teeth. He freaks. She gestures and two other crone-faced witches rush forward. They cackle as they surround him, and tear him to shreds.
When he gets to her room, he's weirded out to see that it's full of creepy magical looking stuff. She kisses him, and turns into a crone with pointy teeth. He freaks. She gestures and two other crone-faced witches rush forward. They cackle as they surround him, and tear him to shreds.
We open at Capeside High. Dawson gushes to Joey about a particular type of camera and how it's a million times better than shooting video and blah blah, I honestly don't give a fuck about anything this dude has to say. They head to the film classroom to get the camera, and Kendra's there fiddling with it. She and Joey exchange some polite small talk, then Dawson tells her to hand over the camera. She's all "LOL NOPE" because she just checked it out for the next month. He gapes like a goldfish and Kendra says that she cleared it with the film teacher. Dawson wants to know when he'll get the camera, and she tells him that film making is an art that can't be rushed.
I love when we unintentionally develop crossover magic here in Traumaland. Here, we have another wendigo episode! If we really want to this a thing, Wikipedia tells these shows have wendigo appearances: X-Files, Blood Ties, Fear Itself, Haven, Grimm, Hannibal, Teen Wolf or My Little Pony: Friendship is Magic. You never know.
Piper got a flat tire on the way to meet Prue and Phoebe for dinner. Phoebs is trying to talk her through changing a tire via phone call, but things go south quickly when Piper tries to use a wooden spoon to jack up the car. Phoebe offers to go and get her, seeing as how she's stranded and only has a broken wooden spoon to protect herself. Somewhere, Buffy is all, "girl, that's enough!" Especially in the later seasons when minimal effort was required to pierce through the chest.
Piper got a flat tire on the way to meet Prue and Phoebe for dinner. Phoebs is trying to talk her through changing a tire via phone call, but things go south quickly when Piper tries to use a wooden spoon to jack up the car. Phoebe offers to go and get her, seeing as how she's stranded and only has a broken wooden spoon to protect herself. Somewhere, Buffy is all, "girl, that's enough!" Especially in the later seasons when minimal effort was required to pierce through the chest.
People in the comments were taking bets on how we would react to this episode which would've been all I needed to figure out that the Number Gods have seen it fit to gift me with YET ANOTHER Spike episode. It might be a good thing, though. At least I know it won't be an episode where they shoehorn him in to give one or two punchlines that could be delivered by literally anyone else on the whole team.
Sweeney: You mean *gasp* character development? What's this mythical concept you speak of? Lor put it best in the comments, but it's worth reiterating here: didn't even like this character but WOW has he been badly used by the AtS writers so far.
Sweeney: You mean *gasp* character development? What's this mythical concept you speak of? Lor put it best in the comments, but it's worth reiterating here: didn't even like this character but WOW has he been badly used by the AtS writers so far.
Dusty planet. Two people are hanging up some laundry when they notice five men on horseback and a hovercraft of some sort approaching. The girl calls out to "Nandi" and from within the house covered in tin foil, Julie Cooper exits. You may recognize her from any number of other things, including The Vampire Diaries, Entourage or Nakita. You might even know her name is Melinda Clarke. But, like, Julie Cooper.
Sweeney: JULIE COOPER!!
Sara: I KNEW I KNEW HER!
Sweeney: JULIE COOPER!!
Sara: I KNEW I KNEW HER!