Podcast appearances and mentions of Ben Lawrence

As we conclude 2024, Ben Lawrence makes his podcast debut for us. In his introduction, he shares his passion for the distinctive baselines and engaging vocal characteristics of dance music. Ben has produced a 60-minute DJ mix that features a variety of dance party tracks, making it an ideal soundtrack for home gatherings this party season! https://www.littlesouth.com/ben-lawrence-dance-party-mix

The evolution of technology has changed the landscape of search and rescue missions — clearing radio airwaves for essential traffic and mission critical information. Travis Hull, Kate Cummings, Ben Lawrence, and Jason Day explore how broadband solutions have increased operation efficiencies, live at 5x5: The Public Safety Innovation Summit.

Aides financières à l'Ukraine, politiques migratoires, ou gestion de la dette, les décisions sur ces sujets clivants passent par le Congrès, composé du Sénat et de la Chambre des représentants. Sur les 435 sièges de la chambre basse, renouvelés en novembre, seuls une quarantaine sont jugés « compétitifs », c'est-à-dire que la course est serrée entre candidats démocrates et républicains. Dans la première circonscription de Caroline du Nord, le démocrate sortant Don Davis pourrait ainsi perdre son siège face à Laurie Buckhout, républicaine. Dans toute la région, les démocrates se mobilisent pour remporter cette élection.  De notre envoyé spécial à Henderson,Tom, 62 ans, est venu de Virginie, État voisin de la Caroline du Nord, pour tracter, certes pour Kamala Harris, mais aussi pour d'autres candidats de cette région rurale, dont le démocrate Don Davis, qui se représente à la Chambre des représentants pour la première circonscription de la Caroline du Nord. « La seule course qui a des conséquences pour moi, c'est la présidentielle, opine Tom, cela étant dit, je sais qu'avec Don Davis, c'est une course-clé pour que les démocrates aient le contrôle du Congrès. Kamala Harris aura beaucoup de mal à faire quoi que ce soit si elle n'a pas le Congrès avec elle, donc c'est sûrement le deuxième scrutin le plus important pour moi. » Un constat partagé par Rachel. Cette militante regrette la polarisation de la politique où un dialogue entre les deux partis au Congrès est impossible. C'est pourquoi une majorité démocrate est d'autant plus importante, selon elle. « J'ai l'impression qu'on est coincés : le président peut avoir une idée pour réduire la dette étudiante ou pour améliorer la situation pour les migrants, et ils sont coincés, car le Congrès ne passera rien, se désole-t-elle. Ou quand le Congrès et les deux partis se sont finalement mis d'accord sur une loi sur l'immigration, Donald Trump a tout bloqué afin d'éviter que les gens pensent que la situation s'était améliorée avant l'élection… On est juste bloqués et on ne peut pas aller de l'avant. » Les conséquences du redécoupage électoralDon Davis avait été élu il y a deux ans avec 52 % des voix, mais les contours de sa circonscription ont depuis été redessinées par les républicains au pouvoir en Caroline du Nord, rendant cette élection gagnable pour la candidate républicaine, Laurie Buckhout. En effet, l'électorat est désormais divisé à cinquante-cinquante entre les deux partis.Dans un QG démocrate local, Ben Lauwrence, soixante ans, véritable vétéran de la politique locale, apprécie particulièrement le programme du candidat démocrate. « Don Davis est juste en faveur des droits humains, il fait aussi campagne pour avoir des frontières plus fermées. C'est un militant qui se fait entendre pour les droits humains, les droits des femmes, les droits reproductifs et les droits de vote. C'est essentiel pour nous », confie Ben Lawrence, pour qui le programme du candidat démocrate est à la fois centriste et progressiste.Un bon signe pour le candidat démocrate : début octobre, sa campagne avait récolté 5,2 millions de dollars, contre 3,9 millions de dollars chez sa rivale républicaine — dont 1,6 million qu'elle a financé elle-même. À écouter dans Grand reportageLes démocrates de Caroline du Nord à l'assaut des électeurs ruraux

Aides financières à l'Ukraine, politiques migratoires, ou gestion de la dette, les décisions sur ces sujets clivants passent par le Congrès, composé du Sénat et de la Chambre des représentants. Sur les 435 sièges de la chambre basse, renouvelés en novembre, seuls une quarantaine sont jugés « compétitifs », c'est-à-dire que la course est serrée entre candidats démocrates et républicains. Dans la première circonscription de Caroline du Nord, le démocrate sortant Don Davis pourrait ainsi perdre son siège face à Laurie Buckhout, républicaine. Dans toute la région, les démocrates se mobilisent pour remporter cette élection.  De notre envoyé spécial à Henderson,Tom, 62 ans, est venu de Virginie, État voisin de la Caroline du Nord, pour tracter, certes pour Kamala Harris, mais aussi pour d'autres candidats de cette région rurale, dont le démocrate Don Davis, qui se représente à la Chambre des représentants pour la première circonscription de la Caroline du Nord. « La seule course qui a des conséquences pour moi, c'est la présidentielle, opine Tom, cela étant dit, je sais qu'avec Don Davis, c'est une course-clé pour que les démocrates aient le contrôle du Congrès. Kamala Harris aura beaucoup de mal à faire quoi que ce soit si elle n'a pas le Congrès avec elle, donc c'est sûrement le deuxième scrutin le plus important pour moi. » Un constat partagé par Rachel. Cette militante regrette la polarisation de la politique où un dialogue entre les deux partis au Congrès est impossible. C'est pourquoi une majorité démocrate est d'autant plus importante, selon elle. « J'ai l'impression qu'on est coincés : le président peut avoir une idée pour réduire la dette étudiante ou pour améliorer la situation pour les migrants, et ils sont coincés, car le Congrès ne passera rien, se désole-t-elle. Ou quand le Congrès et les deux partis se sont finalement mis d'accord sur une loi sur l'immigration, Donald Trump a tout bloqué afin d'éviter que les gens pensent que la situation s'était améliorée avant l'élection… On est juste bloqués et on ne peut pas aller de l'avant. » Les conséquences du redécoupage électoralDon Davis avait été élu il y a deux ans avec 52 % des voix, mais les contours de sa circonscription ont depuis été redessinées par les républicains au pouvoir en Caroline du Nord, rendant cette élection gagnable pour la candidate républicaine, Laurie Buckhout. En effet, l'électorat est désormais divisé à cinquante-cinquante entre les deux partis.Dans un QG démocrate local, Ben Lauwrence, soixante ans, véritable vétéran de la politique locale, apprécie particulièrement le programme du candidat démocrate. « Don Davis est juste en faveur des droits humains, il fait aussi campagne pour avoir des frontières plus fermées. C'est un militant qui se fait entendre pour les droits humains, les droits des femmes, les droits reproductifs et les droits de vote. C'est essentiel pour nous », confie Ben Lawrence, pour qui le programme du candidat démocrate est à la fois centriste et progressiste.Un bon signe pour le candidat démocrate : début octobre, sa campagne avait récolté 5,2 millions de dollars, contre 3,9 millions de dollars chez sa rivale républicaine — dont 1,6 million qu'elle a financé elle-même. À écouter dans Grand reportageLes démocrates de Caroline du Nord à l'assaut des électeurs ruraux

The narrative of Ben reads like a poignant coming-of-age film. His formative years were spent exploring creativity with his brother Dan, forming bands, and making home movies. Ben's desire to delve into thought-provoking art endured into his early twenties. Their early journey as brothers set the stage for decades of creative pursuits, but life had a different story in store for them.Check Out Ben's Music HERESay hello on Instagram.Sign up for our occasional newsletter, Come Back To EarthFollow the show and review us on Apple Podcasts: https://lnkfi.re/S6T94eSign up for Storyteller Plus to get behind-the-scenes bonus episodes of all Not Today Media Shows, a supportive community of listeners, members-only merch, and more. Learn more and sign up here.Listen back through our archives on YouTubeWe also make Dads Cry Too and Come Back To Earth.Check out our online shop.Episode transcripts are posted on our website.Background music written and produced by Lincoln Parish______________ Show Sponsor:* BetterHelp: https://betterhelp.com/fragilemoments for 10% off your first month. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit comebacktoearth.substack.com/subscribe

Welcome to Episode 26 of The Oncology Podcast's Experts On Point series, brought to you by The Oncology Network. How can we change our inner worlds alongside our healthcare systems? How can we integrate trust and kindness into research projects? How can we build more equity into gastrointestinal cancer care?These were some of the innovative and fascinating topics discussed at the recent AGITG 2023 Annual Scientific Meeting held in Christchurch, Aotearoa, New Zealand.To review the meeting, our Host Rachael Babin is joined by the Co-Convenor Dr Ben Lawrence, Medical Oncologist practising in Auckland.  And international guest speaker, Associate Professor Katherine Garman, Vice Chief of Research in the Division of Gastroenterology at Duke University in Durham North Carolina, USA.We hope you enjoy listening.For news and podcast updates subscribe to The Oncology Newsletter,  a free weekly publication for healthcare professionals with an interest in oncology. Click here to subscribe.PART OF THE ONCOLOGY NETWORK... Join Us

Most educational research now suggests that reading for pleasure is strongly linked to a child's future outcome, educational success, and even wellbeing. But the latest studies also show that reading for pleasure is at its lowest level for twenty years. Why has this happened in a country that's produced more successful children's books than any other? From Paddington, to Harry Potter, the Chronicles of Narnia to Alice in Wonderland, and of course, the Gruffalo, the list is vast. Is a lack of access to school and local libraries the problem, too few books at home or the rise of phones, tablets and game consoles? What can schools, government, the media and parents do to help foster a love of reading that could help children throughout their lives? Author and former Children's Laureate Julia Donaldson investigates. Presenter: Julia Donaldson Producer: Ravi Naik Editor: Clare Fordham Contributors: Frank Cottrell-Boyce, author and screenwriter Joseph Coelho, 2021-23 Children's Laureate, author and poet Teresa Cremin, Professor of Education (Literacy), the Open University Joanna Prior CEO Pan Macmillan Publishing, and Chair of Trustees at the National Literacy Trust Laura Patel, head of literacy, Sandhill View Academy school, Sunderland Leia Sands, librarian and committee member, the Great School Libraries campaign Ben Lawrence, arts and culture editor, The Daily Telegraph Sonia Thompson, headteacher, St Matthews C of E primary school, Birmingham

We must defend purity in a pornographic age through accountability to God and others. This means that we flee from sin, come to Christ, and share with others. -Introduction by Ben Lawrence-

Ben Lawrence and Read Kelly both spent many years working in different roles at the Mississippi State University Delta Research and Extension Center in Stoneville. Ben and Read visited the Crop Doctors' Podcast studio in Stoneville to discuss their experiences from graduate school and working at Stoneville with Jason and Tom and how those prepared them for their current jobs.

Live dal Pesaro Film Festival con Dante Ferretti, Carlo Verdone e Giuseppe Tornatore. Carmen Giardina e Massimiliano Palmese parlando del doc “Bellezza, Addio” e dal Biografilm Laura Morante su “Ithaka – A fight to free Julian Assange” di Ben Lawrence. Mattia Colombo parla di “Sconosciuti puri” vincitore del premio del pubblico.

Director Ben Lawrence's fly-on-the-wall documentary, ITHAKA, weaves together historic archive and intimate behind-the-scenes footage, as it tracks WikiLeaks founder Julian Assange's father, John Shipton and Assange's wife Stella Moris as they join forces to advocate for Julian's freedom. We witness Shipton's European odyssey to rally a global network of supporters, advocate to politicians and cautiously step into the media's glare for his son. With Julian facing the possibility of extradition to the US, his family members are confronting the prospect of losing Julian forever to the abyss of the US justice system. The world's most famous political prisoner, Julian Assange, has become an emblem of an international struggle over freedom of journalism, government corruption and unpunished war crimes. In light of Julian's health declining in a British maximum-security prison and the American government pushing for him to face trial in the America, this David-and-Goliath struggle has become deeply personal for John and Stella. Director Ben Lawrence joins us to talk about ITHAKA's timely reminder of the global issues at stake in this case, as well as an insight into the personal toll inflicted by the arduous, often lonely task of fighting for a cause bigger than oneself. For more go to: ithaka.movie

In this episode, Andy and Ross talk to Ben Lawrence (56 Oval), who with the backing of Straightliners will be timing a series of drag racing events here in NI. Despite living in the province for nearly two decades he hasn't lost a hint of his Essex accent, and we talk about his obsession with aircooled VWs, drag racing and how he relishes the challenge of getting on the tools of carbureted classics. Hosted on Acast. See acast.com/privacy for more information.

The MintPress podcast, “The Watchdog,” hosted by British-Iraqi hip hop artist Lowkey, closely examines organizations about which it is in the public interest to know – including intelligence, lobby and special interest groups influencing policies that infringe on free speech and target dissent. The Watchdog goes against the grain by casting a light on stories largely ignored by the mainstream, corporate media.On this week's edition of The Watchdog podcast, Lowkey explores the growing movement to free Wikileaks founder Julian Assange, and is joined by his father John Shipton, to do so. Imprisoned in Belmarsh high security prison in London since 2019, and before that confined to the Ecuadorian Embassy, Assange has spent a decade locked up. If extradited to the United States, he faces up to 175 years in prison.Yet there are signs that his future might be brighter than his past. The global movement to free him, Shipton explains, is growing. In Australia, dozens of members of parliament have come together to lobby for Assange's release. In the United Kingdom, 23 MPs from across the political spectrum have done the same. Indeed, the parliaments of every single European nation have an Assange friendship group. And 26 major NGOs have signed a letter of support that was recently sent to President Biden.But, as Shipton explained to Lowkey, these groups are not acting on their own accord, but rather are reacting to popular pressure. As he said:These elements of institutions, parliaments and NGOs and governments represent an upwelling tide of support. They don't do it out of their own motivation. They do it because they either feel the injustice from the upwelling tide of support or realize as parliamentarians that their position is to carry this forward into the institutions of Parliament and resolve the situation.”The Biden administration is also coming under attack from Latin American nations. Mexican president Andres Manuel Lopez Obrador recently publicly stated that if Biden extradites Assange, he should tear down the Statue of Liberty as freedom will be over.“He is the best journalist of our time in the world and has been very unfairly treated, worse than a criminal..This is an embarrassment to the world,” Lopez Obrador added.Both Shipton and Assange feature in a new documentary film, Ithaka, which details the struggle to free Assange and the emotional toll it has taken on his family. The film is directed by Ben Lawrence and produced by Assange's brother, Gabriel Shipton. Late last month, Lowkey hosted a special screening of the film in London, alongside Shipton and Assange's wife, Stella.Lowkey is a British-Iraqi hip-hop artist, academic and political campaigner. As a musician, he has collaborated with the Arctic Monkeys, Wretch 32, Immortal Technique and Akala. He is a patron of Stop The War Coalition, Palestine Solidarity Campaign, the Racial Justice Network and The Peace and Justice Project, founded by Jeremy Corbyn. He has spoken and performed on platforms from the Oxford Union to the Royal Albert Hall and Glastonbury. His latest album, Soundtrack To The Struggle 2, featured Noam Chomsky and Frankie Boyle and has been streamed millions of times.Support the show

Julian Assange has become a symbol over the years. Just mentioning his name conjures up ideas of press freedoms and government tyranny, or of threats to national security, depending on where your own ideals lie. But behind the symbol is a person, dealing with an extended period of detention, and surrounded by family members that are also impacted by the realities of his imprisonment. A new documentary, Ithaka, follows Assange's partner, Stella, and his father, John, in the months leading up to the first extradition hearing in 2020. In the Drawing Room, director Ben Lawrence and producer Gabriel Shipton, look back on the story they hoped to tell and the reality of living through those times.

Julian Assange has become a symbol over the years. Just mentioning his name conjures up ideas of press freedoms and government tyranny, or of threats to national security, depending on where your own ideals lie. But behind the symbol is a person, dealing with an extended period of detention, and surrounded by family members that are also impacted by the realities of his imprisonment. A new documentary, Ithaka, follows Assange's partner, Stella, and his father, John, in the months leading up to the first extradition hearing in 2020. In the Drawing Room, director Ben Lawrence and producer Gabriel Shipton, look back on the story they hoped to tell and the reality of living through those times.

Mike drinks tea with Ben Lawrence, a singer, and songwriter, aspiring to be, in his own words a, successful artist who can make a living off his music. The theme of Ben's story was about using music as a tool for communicating and creatively expressing emotion. Ben spoke to how he fell in love with music and theatre to the importance of creating an environment that allows you to be the most authentic version of yourself. Ben also revealed some future music goals and discussed his love for cooking and animals. Shout out to Ben for stepping out of his comfort zone and recording his first-ever podcast! Share this episode with someone who needs some encouragement on their journey. Find Ben Lawrence through: TikTok: https://.tiktok.com/@benlawrencemusic Instagram: https://instagram.com/benlawrencemusic Find the Tea with Mike show through: Website: http://teawithmike.com Podcast: https://anchor.fm/michael-johnson933 Facebook: https://www.facebook.com/TEAWITHMIKEJ Twitter: https://twitter.com/tea_with_mike?lang=en Linkedin: https://www.linkedin.com/company/teawithmike Thank you for listening to the podcast. Mike

1.53 Welcome RPG Ramblings with Jeff Jones. This a weekly show exploring the various details of the TableTop RPG hobby through discussions with interesting people. Today, Ben Lawrence joins me to discuss the success of his ZQ3 project and the ups and downs of having a Kickstarter that achieved that level of success. We talk shop about Kickstarter fulfillment and we take short delve into his projects. For those that are interested, I created a Patreon. Even if you don't pledge, you can still follow and get free content. The Dreamands beckon us sisters and brothers…It is time to get rambling. Show Notes: ———————————————————————————————— Patreon - https://www.patreon.com/RPG_Ramblings ———————————————————————————————— Ben Laurence Twitter: @benlaurence1 Blog: Mazirian's Garden - http://maziriansgarden.blogspot.com Storefront: https://throughultansdoor.bigcartel.com Itch.io: https://ben-laurence.itch.io Drive Thru: https://www.drivethrurpg.com/browse/pub/13761/Through-Ultan039s-Door From the Vats (free) PDF: https://www.drivethrurpg.com/product/151451/From-the-Vats -------- Jeff Jones Twitter: @I_Am_Jeffrey Itch.io: https://jeffrey-a-jones.itch.io DriveThru: https://www.drivethrurpg.com/browse.php?author=Jeffrey%20A%20Jones Intro and Outro Music: Jungle Juice by Wataboi from Pixabay.com/music Sound Effects: https://sound-effects.bbcrewind.co.uk --- Send in a voice message: https://anchor.fm/jeffrey-jones6/message

This week I caught up Ben Lawrence from the Hunter Valley, he has built an awesome Morris Commerical truck, based on a Nissan Patrol Chassis and driveline. This is a non registered, non engineered rat rod build and its 100% cool. You can check out Ben's work via his Instagram, youtube and facebook @hunka_morris_co The podcast is sponsored in part by Classic Pickup Supplies. Please support them if you need parts for US build Ford and Chevy vehicles. www.classicpickupsupplies.com.au Please consider supporting the podcast with a monthly donation, via our Patreon page https://www.patreon.com/classicpickuppodcast To get in contact with me please email me at classicpickuppodcast@gmail.com Thank you for listening. Whipps.

Most of us can agree that accountability software is essential in our fight against pornography, but how do we put it in place so that it will protect us the most during those times of temptation? What do we look for when we are considering which accountability software will work to best for us? In this podcast episode, Ben walks us through all of these issues and more. Ben Lawrence is the Co-founder, along with his wife, and CEO of Accountable2you, an accountability software company focused on helping you pursue an honest, transparent, and meaningful life. He has anBusiness Administration with a Computer Programming background. He is blessed with a lovely wife of 23 years, and they live on their small farm in Northern Kentucky with their 7 lovely children. You can learn more about Accountable2you by going to https://accountable2you.com/ Also, to get your hands on the Overcoming Porn Blueprint - The 4 areas of attack you need to employ to achieve lasting victory over sexual sin - NOW WITH A 10 DAY COMPANION EMAIL COURSE that will walk you through 5-minute actionable steps every day to implement the Blueprint. Pick it up here: http://titus2institute.com/blueprint

Ben Lawrence is an Australian director whose credits include Hearts and Bones, Ghosthunter, and most recently Ithaka, a feature documentary following John Shipton, Jullian Assanges father, in his fight for Julian's freedom. It's premiering at Sydney Film Festival this Sunday 7th November, with music by Brian Eno. In my first face-to-face podcast interview in over 18 months, me and Ben chatted about how he pitted Hugo Weaving against first-time actors in Hearts and Bones, how he unwillingly became a character in his documentary Ghosthunter and how he collaborated with Brian Eno to find the right music for Ithaka. Get tickets for Ithaka at Sydney Film Festival here: https://www.sff.org.au/program/browse/ithaka Follow me on Letterboxd: Alfie Faber And Instagram at @alfiefaber Got any feedback or questions? Contact me at contact@soundperspectivepodcast.com

#124 Finding Your Creativity with Ben Lawrence Writing blogs, shooting content, telling stories - being creative goes hand in hand with running a businessBen Lawrence is a Writer, Photographer and Director. He's received international acclaim for his most recent feature films: Ghosthunter 2018, and Hearts and Bones 2019, as well as Ithaka which is set for […] The post #124 Finding Your Creativity with Ben Lawrence appeared first on Jungle Brothers Strength and Movement.

Just received my ZineQuest copies of Ben Lawrence's, Through Ultan's Door. Just perusing the pages and the blurbs I can tell these zines a rich with content. Ben has set a standard for zine makers out there. They look amazing. --- Support this podcast: https://anchor.fm/gothridgemanor/support

On EP035 we sit down with serial air-cooled addict Ben Lawrence to talk about doing laps of the Nurburgring in his tuned air-cooled Beetle, the struggles of juggling cars and family life and his latest budget build which wound things back in more ways than you can imagine. Combine a hands on approach and a refreshing attitude towards all things automotive, this is great build story to tell and will likely leave you thinking. Oh, and he lapped Spa F1 circuit naked on a bike... Enjoy.

Aziz Hashim is widely recognized as one of the world’s leading experts in franchising and food service. He is Founder and Managing Partner of NRD Capital, as well as founder of two other innovative restaurant concepts – Franklin Junction and Own It. Founded in 2014, NRD Capital is a private equity firm headquartered in Atlanta […] The post Aziz Hashim and Ben Lawrence with GSU Franchise Entrepreneurship appeared first on Business RadioX ®.

Aziz Hashim is widely recognized as one of the world’s leading experts in franchising and food service. He is Founder and Managing Partner of NRD Capital, as well as founder of two other innovative restaurant concepts – Franklin Junction and "Own It." Founded in 2014, NRD Capital is a private equity firm headquartered in Atlanta […] The post Aziz Hashim and Ben Lawrence with GSU Franchise Entrepreneurship appeared first on Business RadioX ®.

Brian sits down with Bobby and Jason to discuss cotton defoliation. Ben Lawrence joins to talk cotton terminology. 

Karl and Andrew discuss Warwick Thornton's The Beach; Ben Lawrence's Hearts and Bones; Marina Zenovich's Lance; plus gigs, food and footy. See omnystudio.com/listener for privacy information.

Join us on the Mississippi Crop Situation Podcast, as Drs. Bobby Golden, Jason Bond, and Ben Lawrence discuss weed control options for rice following a flood.  

Bobby Golden, Ben Lawrence, and Jason Bond discuss postemergence weed control in soybean and cotton.   

What a delight to be joined on the Sun Sessions by much loved Australian acting legend Hugo Weaving and Director/writer Ben Lawrence talking about their new film HEARTS AND BONES.  

Australian filmmaker Ben Lawrence joins the Cinema Australia Podcast to discuss his new film, Hearts and Bones. Ben Lawrence is an internationally award-winning director and photographer. His short films have screened at Edinburgh, Clermont-Ferrand, Los Angeles, San Gio and Sao Paulo film festivals. His photographs have been recognised at the International Photography Awards in New York, The Australian National Photographic Gallery Portrait Prize, the HeadOn Portrait Festival and The Spider Awards for photojournalism in London. In 2018, his critically acclaimed debut feature documentary, Ghosthunter screened at multiple festivals around the world and was nominated for a prestigious Illuminate Award at the Sheffield Film Festival. It also earned an AACTA Award nomination for Best Feature Length Documentary and won the Best Australian Documentary Award at the Sydney Film Festival.

This week’s podcast features Ben Lawrence, Team Leader at Leeds Faith in Schools, who talks to us with enthusiasm about the opportunities and realities of their work in being good news to the high schools of Leeds. Leeds Faith in Schools now works across approximately 15 high schools and academies, delivering Assemblies, RE lessons, PSCHE […]

Louise and Virginia discuss several recent books written by Australian Indigenous writers. Louise talks about two excellent non-fiction books by Bruce Pascoe and Virginia talks about the recent releases by Melissa Lucashenko and Tara June Winch. They also talk about a few other things they’ve been diving into recently.Email hello@divinginpodcast.comInstagram @diving_in_podcastVirginia’s Instagram @les__livres__Song ‘Diving In’ - original music and lyrics written and performed by Laura Adeline - https://linktr.ee/llauraadelinePodcast sound production and editing by Andy MaherBooksDark Emu by Bruce Pascoe, 2014. Published by Magabala BooksYoung Dark Emu by Bruce Pascoe, 2019. Published by Magabala BooksSalt by Bruce Pascoe, 2019. Published by Black Inc.Too Much Lip by Melissa Lukashenko, 2018. Published by University of Queensland PressThe Yield by Tara June Winch 2019. Published by Penguin Random HouseFilmsEmu Runner (2018), directed by Imogen Thomas.Hearts and Bones (2019), directed by Ben Lawrence.NetflixProhibition – Documentary seriesPodcastConversations – ABC RNPrepping for the apocalypse – bunkers, bullets and billionairesCinefestOZhttps://cinefestoz.com

Hugo Weaving, Bolude Watson, Ben Lawrence, Andrew Luri and Face2Face host David Peck talk about their new film, Hearts and Bones, PTSD, relationships and hope, the power of community, the image and why finding our way home matters. Trailer Synopsis: War photographer, Daniel Fisher has returned home to the news of his partner’s pregnancy. Determined not let fatherhood alter his way of life, he begins preparations for an upcoming exhibition and his next overseas assignment. However, as the birth of his child draws near he struggles to keep his rising anxiety hidden. Meanwhile, South Sudanese refugee, Sebastian Aman has created a safe life in Australia with his wife and child. His peaceful life is disturbed when Dan’s exhibition threatens to display photographs of a massacre that occurred in Sebastian’s home village, 15 years earlier. When Sebastian approaches Dan with an appeal to not display any images of the massacre, an unlikely friendship develops between the men. Bonded by their shared trauma, Sebastian introduces Dan to members of a community choir. These survivors of war offer Dan an escape from the anxieties of imminent fatherhood, much to the frustration of his wife. When Sebastian uncovers among Dan’s photographic archive an image of his daughter, thought to have died in war, the men set about finding her. Amid the search for the young girl, Dan unearths disturbing details surrounding Sebastian’s past and the startling revelations threaten to destroy both families. Amid the pain, each man must face their painful past in order to regain their salvation. Hearts and Bones - a story about hope and the mysterious bonds of family, friendship and fatherhood. About our Guests: Ben Lawrence is an internationally award-winning director and photographer. His short films have screened at Edinburgh, Clermont-Ferrand, Los Angeles, San Gio and Sao Paulo film festivals. His photographs have been recognized at the International Photography Awards in New York, The Australian National Photographic Gallery Portrait Prize, the HeadOn Portrait Festival and The Spider Awards for photojournalism in London. In 2018, his critically acclaimed debut feature documentary, Ghosthunter screened at multiple festivals around the world and was nominated for a prestigious Illuminate Award at the Sheffield Film Festival. It also earned an AACTA Award nomination for Best Feature Length Documentary and won the Best Australian Documentary Award at the Sydney Film Festival. Hugo Weaving has enjoyed an enormously varied and successful career in film, theatre and television. He has won numerous awards, including three Australian Film Institute awards for Best Actor in a Leading Role - in Jocelyn Moorhouse's PROOF (1991), THE INTERVIEW (1998) - for which he also won Best Actor at The Montreal World Film Festival, and LITTLE FISH (2005). In 2011, he was an inaugural AACTA award winner for his performance in ORANGES AND SUNSHINE. In 2015 he won his second AACTA award for THE DRESSMAKER. In 2016 he won another for his work in HACKSAW RIDGE, and followed this up in 2017 with another for JASPER JONES. Weaving is also well known for his roles in THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (1994), as Agent Smith in THE MATRIX trilogy, as Elrond in THE LORD OF THE RINGS and THE HOBBIT trilogies, and as 'V’ in V FOR VENDETTA (2006). Other films include LAST RIDE (2009), CAPTAIN AMERICA (2011), CLOUD ATLAS (2012), MYSTERY ROAD (2013), THE MULE (2014) and STRANGERLAND (2015). Hugo’s recent TV credits include PATRICK MELROSE released in 2018 and Australian series SEVEN TYPES OF AMBIGUITY (2016). His many theatre appearances include Sydney Theatre Company’s ARTURO UI, as well as HEDDA GABLER and UNCLE VANYA (both enjoying successful U.S. tours in 2006 and 2011 respectively, the latter earning him a Helen Hayes Award), MACBETH (2014), ENDGAME (2015) and WAITING FOR GODOT (2013) with a London season in 2015. He has also voiced characters in several highly successful films, including BABE, HAPPY FEET and TRANSFORMERS. Andrew Luri was born in Juba, which is now the capital of South Sudan. He came to Australia via Cairo Egypt, to Darwin then to Melbourne. He is married and has seven children. Music is his hobby and he is a Church and community leader. Andrew loves comedy and studied at Charles Darwin University, he also studied Counter Terrorism at Swinburne University. He is multi skilled and has had many different jobs over the years. Hearts and Bones is his first film and the culmination of a childhood dream. Bolude Watson is a Nigerian born American raised actress. Moving to Sydney, Australia in 2014 from Los Angeles, has proven to flourish her career, staring in Ché Baker’s SciFi film ‘Blue World Order’ as female lead Marion Connors and most recently she just wrapped the film ‘Hearts and Bones’ directed by Australia’s brilliant director, Ben Lawrence where she played Anishka the wife of a South Sudanese immigrant with a dark secret. Bolude’s television credits include roles in shows such as ‘Deadly Women’ and ‘Your Numbers Up’. Bolude is also co-creator with Michela Carattini of The web series ‘Americans in Oz’ which made its online debut last year. As an African American and with a deep passion for story telling Bolude’s goal is to be part of the movement that creates a space for diverse voices in film and television Image Copyright: Hearts and Bones Films Pty Ltd, Spectrum Films Pty Ltd, Lemac Films (Australia) Pty Ltd, Create NSW and Screen Australia. Used with permission. F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Jason Bond and Tom Allen visit with Ben Lawrence about his new role as Cropping Systems Agronomist at DREC in Stoneville.

Dr. Ben Lawrence is the Aziz Hashim endowed Professor in Franchise Entrepreneurship. Lawrence focuses on topics that intersect service operations and marketing with a particular interest in franchise relationships . Lawrence’s broad domains of interest include the impact of organizational form on performance, consumer coproduction, and service innovation. He has published research articles in such […] The post Ben Lawrence with Robinson College of Business, Minal Patel with MP Hospitality and Dr. Geoffrey Graybeal with GSU appeared first on Business RadioX ®.

In the final episode of the series, Ben Lawrence chairs a discussion with Simon Godwin and Dr Sarah Dustagheer about what Timon of Athens says about our current credit culture and how its cynical tone reflects the troubled state of early 17th-century England.     For more, visit www.telegraph.co.uk/royal-shakespeare-company/ See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this penultimate episode of the series, Ben Lawrence goes behind the scenes of the RSC's new production of Shakespeare's biting satire and talks to its star, Kathryn Hunter. For more, visit www.telegraph.co.uk/royal-shakespeare-company/     See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Troilus and Cressida is a problem play in more ways than one. Its tone veers wildly between comedy and tragedy and there are no easy resolutions. But it is also a dazzling work with Shakespeare being more truthful and cynical about the human condition than at any other stage in his career. In this episode, Ben Lawrence returns to the play. He is in conversation with Gregory Doran, artistic director of the RSC, who also directs the new production at Stratford upon Avon (which runs from October 12 to November 17), and with the academic and writer James Shapiro whose long list of acclaimed works includes William Shakespeare: 1606, and the Year of Lear.   See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Telegraph's Ben Lawrence goes behind the scenes of the RSC's new production of Troilus and Cressida. This is one of Shakespeare's most complex and fascinating plays, a version of events leading up to the death of Hector in the Trojan War, and raising issues about self-image and self-worth, the disappointment of love and the frailty of human nature. This new production, with music by acclaimed percussionist Evelyn Glennie, has a 50/50 gender split. Ben talks to Gregory Doran, Artistic Director of the RSC, and to the two actors playing its title characters, Gavin Fowler and Amber James. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

9/23/18 (PM)

9/23/18 (AM)

Director Ben Lawrence joins Matthew Pejkovic of Matt's Movie Reviews to talk about his documentary Ghosthunter, piecing together a brutal past, whether he had any experiences with the supernatural, and much more!

This week Mia Timpano speaks about her show “Speaking Of Which: The Science Of Conversation” that will playing at Melbourne FRINGE festival; Sarah is the centre of attention on Trauma Tuesday; Michael Harden talks about food interlude; director Ben Lawrence chats about his latest film “Ghosthunter”; and the team chat about airport phone dramas. With presenters Sarah Smith, Jeff Sparrow and Geraldine Hickey.  

Ghosthunter + The Nun. Evie Friedrich, co-director of Cherry, joins us to talk about her Sydney Underground Film Festival debut. Australian director Jennifer Kent wins the Grand Jury Prize for The Nightingale, is the only female filmmaker in competition and is called a whore during her standing ovation. We talk more about Venice and Shia Labeouf's new theatre school. André reviews The Conjuring prequel The Nun and Jack reviews local documentary Ghosthunter. We also have fellow Reflexxxer Evie Friedrich in the studio talking about Skins and underground anti-auteur cinema including her film which is playing as part of the Ozploitation collection at the Sydney Underground Film Festival. 

Ben Lawrence talks to director Fiona Laird and Professor Helen Barr of Oxford University about the problems of producing Shakespearean comedy for a 21st-century audience. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, Ben Lawrence heads to Stratford-upon-Avon to catch up with director Fiona Laird and actresses Rebecca Lacey and Beth Cordingly for a radical new production, inspired by The Only Way Is Essex, of Shakespeare's knockabout farce. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ben Lawrence talks to Telegraph film critic Tim Robey about Baz Luhrmann's 1996 film version of Romeo and Juliet - one of the greatest big-screen adaptations of Shakespeare. Discover more at www.telegraph.co.uk and www.rsc.org.uk/podcast Music fully licensed at www.epidemicsound.com See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ben Lawrence chairs a debate about the nature of violence in Romeo and Juliet. Discover more at www.telegraph.co.uk and www.rsc.org.uk/podcasts Music fully licensed at www.epidemicsound.com See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Telegraph's Ben Lawrence goes behind the scenes of the RSC's new production which urgently brings to life the violence of the story. Discover more at www.telegraph.co.uk and www.rsc.org.uk/podcasts Music fully licensed at www.epidemicsound.com       See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Is Lady Macbeth the greatest female character that Shakespeare ever created? How do you represent the witches? Why do we see Lady Macduff only briefly? Director Polly Findlay and Oxford academic Emma Smith join Ben Lawrence to discuss the witches in Macbeth. Discover more at www.telegraph.co.uk and www.rsc.org.uk/podcasts Music licensed at www.epidemicsound.com   See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Telegraph's Ben Lawrence goes behind the scenes of the brand new Royal Shakespeare Company production of Macbeth and talks to actors Christopher Eccleston and Niamh Cusack, and director Polly Findlay.Discover more at www.telegraph.co.uk and www.rsc.org.uk/podcastsMusic licensed at www.epidemicsound.com See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Show Notes / Resources Here’s a quick overview of what you’ll hear in Episode 21: Update: No, I’m not asking for donations. Every successful ministry has to consider finances and budgets. I’ll share how God is already providing to keep Edify Hub going, and how I foresee things working in the future. Encouragement: In the conclusion of my […]

Show Notes / Resources Here’s a quick overview of what you’ll hear in Episode 20: Update: Coffee with a coach. Responses to Resources for Missionaries. How I’m hiring help Encouragement: The internet is practically essential for ministry and effective communication in today’s world. Unfortunately, many experiences available on the internet can become significant stumbling blocks. You’ll hear part one of […]

#doctorwho #podcast #tindogpodcast Reprinted from wiki   Following from Clara's admission that she does not want to see the Doctor again after the events of "Kill the Moon", several weeks have passed, and she realizes that she doesn't hate the Doctor as she allows him to take her on one "last hurrah". He takes her via the TARDIS to a space-bound recreation of the Orient Express with passengers dressed in period pieces, all controlled by the computerized operator, Gus. Aboard the train, they find that an elderly woman, Mrs. Pitt, had recently died, claiming that she was attacked by a mummy that no one else could see. They retire to separate cabins for the evening, where Clara calls Danny in her present and gets advice how to properly end her relationship with the Doctor. She later encounters Maisie, Mrs. Pitt's granddaughter, who is distraught over the death and frustrated with the inability to see her body. The two get trapped in the luggage car, where a mummy's sarcophagus sits, and the two talk and bond while waiting for help.   Meanwhile, the Doctor, claiming he is a mystery shopper, starts to investigate the murder with the help of the train's engineer Perkins who is also curious about the death as well as the nature of the train. The Doctor speaks to Professor Moorhouse to talk about the myth of the Foretold, a supernatural being who claims its victim 66 seconds after the lights flicker, which they are able to confirm when the train's chef dies in a similar manner as Mrs. Pitt. The Doctor discovers Clara's situation but when he tries to rescue her, the lights flicker and the sarcophagus opens; before he can save her, Captain Quell and his men arrest him for falsifying his credentials. When the 66 seconds are up, they find that one of the Captain's men has died. The Captain, realizing the Doctor was right, releases him.   The Doctor begins to question what is really happening on the train, recognizing that most of the passengers are scientific experts and demands to know why. The train suddenly stops in space, and the illusion of the original Orient Express and several of the passengers disperses, revealing they are in a laboratory. Gus tells them they are now to study the attacks of the force behind the attacks so that they can reverse engineer whatever power it has; Professor Moorhouse soon is the next victim, and he stammers out a few details of the Foretold before he dies. The Doctor contacts Clara, who has discovered that the sarcophagus is meant as a containment unit for whatever the force is, and that this is not the first attempt by whomever is controlling events to discover the nature of the force, having gone through and lost ships and crews previously, in some cases, purposely killing them due to poor performance. Gus forces the Doctor to end the call and return to work when it expels the air from the kitchen car, killing the kitchen staff and threatening to kill more.   The Doctor and Perkins discover that the past victims were all suffering from various medical conditions and the Foretold is targeting the weakest. Captain Quell reveals he suffers from wartime post-traumatic stress disorder and soon sees the mummy; providing enough information to the others before he dies. The Doctor and Perkins identify that Foretold drains the victim's energy through phase shifting, a process that takes just over a minute to complete. Perkins identifies the next likely victim to be Maisie, due to her trauma over losing her grandmother, and the Doctor tells Clara to bring her to the lab, having Gus unlock the storage door. On the way there, Clara sees that the TARDIS is protected by a force field, and when she talks to the Doctor about this, she realizes that Gus must know about the Doctor and his Time Lord nature to create the field. The Doctor is forced to admit that Gus had been trying to bring him here to help for some time, and Clara accuses the Doctor of taking her into a dangerous situation again. At this point, Maisie sees the Foretold, and the Doctor absorbs some of her memories as to be able to trick the mummy into thinking he is the intended victim. Within the 66 seconds, the Doctor is able to realize the Foretold is a former soldier from a war thousands of centuries ago, having been modified with phase-shifting camouflage to be an assassin. The Doctor offers their surrender to the Foretold, halting its attack and appearing before everyone before saluting the Doctor and then disintegrates into dust with only its phase-shifting device remaining. Gus congratulates the passengers on their success and then begins to evacuate all the air aboard the train, their services no longer necessary. The Doctor takes the device and rewires it as a short-range teleporter, rescuing all the remaining passengers on the train to his TARDIS before the train blows up when the Doctor made an attempt to hack Gus to find out who is behind all of this.   On a nearby planet, regaining consciousness while told what occurred, Clara has a brief discussion on the nature of her relationship to the Doctor. On the TARDIS, the Doctor offers Perkins a job to maintain the time machine, but he politely refuses. Clara takes a call from Danny, who is expecting that she will finally end her trips with the Doctor, but when she ends the call, has reconsidered her earlier decision and wants to continue her travels with the Doctor.   Continuity[edit] The question "Are you my mummy?" is a reference to the Ninth Doctor episodes "The Empty Child"/"The Doctor Dances". The Tenth Doctor repeats the question in "The Poison Sky".[1]   The Doctor confesses to Clara that the mysterious force which enticed him to the Orient Express "even phoned the TARDIS once", recalling the last line from "The Big Bang", when the Eleventh Doctor, answering the TARDIS phone, replies "an Egyptian goddess loose on the Orient Express, in space?"[1]   The Twelfth Doctor is shown offering jelly babies to Professor Moorhouse, a tradition associated with past Doctors, particularly Tom Baker's Fourth Doctor.[1]   Danny Pink reminds Clara that the Doctor is "not your boyfriend." This is what the Doctor himself tells her at the end of "Deep Breath".[2]   Production[edit] Filming[edit] The read through for Mummy on the Orient Express took place on 1 May 2014. Shooting started on 20 May and finished on 10 June. The episode was primarily studio-based in filming, however the scene with the Doctor and Clara on the planet was shot in Limpert Bay in the Vale of Glamorgan.[1]   Casting[edit] Christopher Villers previously appeared in the classic serial The King's Demons, and Janet Henfrey previously appeared in The Curse of Fenric. Frank Skinner considers himself a die-hard Who fan, and previously had appeared in the special The Five(ish) Doctors Reboot.[1]   Broadcast and reception[edit] Overnight ratings show that this episode was seen by 5.08 million, a 22.1% share of the available audience and third for the night.[3]   Critical reception[edit] "Mummy on the Orient Express" received very positive reviews. Guardian columnist Dan Martin was positive towards the episode and praised the Mummy, saying, "At last, a proper new scary monster to get us behind the sofa," something he felt had been lacking so far in the current series. He called it "a triumph of production design matched with imagination," and praised first time writer for the show Jamie Matheson for blending "cool monsters" and "awkward Tardis dynamics." He did however feel that the reveal of the monster's true nature was "underwhelming."[4] Ben Lawrence of The Telegraph was positive toward the episode and awarded it four stars out of five. He praised the style of the episode and its ability to make the viewer a part of it: "as a viewer you felt hemmed in by the train's narrow corridors, stalked by an invisible creature that could strike at any moment." He believed that Skinner "started well," but more impressive was David Bamber, describing his performance as "poignant," and praised the development of the relationship between the Doctor and Clara.[5]   Morgan Jeffrey of Digital Spy praised the episode, giving it four stars out of five. He praised the chemistry of the two leads: "Capaldi and Coleman remain an utterly magnetic coupling on-screen," citing the final Tardis scene and the beach scene as "magic." He felt that the main problem of the episode was the decision to keep the two apart. He was positive towards Frank Skinner's "genuine love for Doctor Who", which meant he was "practically beaming throughout," and called him "an endearing replacement" for Clara in the episode. He thought that the episode, like the previous one, had a Hinchcliffe vibe to, and that "'Mummy' is a joy, with excellent production design and a roster of perfectly-pitched performances all adding up to create an enchanting atmosphere," and believed it had a "wonderful mood," which felt like "vintage Doctor Who."[6] Tim Liew, writing for Metro, was positive towards "Mummy", calling it "another strong standalone story. ... [The] period costumes helped create a distinctive look and feel, the mummified Foretold was well realised and the repeated use of the 66-second countdown clock injected a real sense of pace and jeopardy."[7] Neela Debnath of The Independent praised the guest stars, Foxes and Skinner, saying Skinner "acts his socks off." She remained critical of Clara, arguing that "her poorly conceived and written character fails to charm," despite praising Coleman's acting. Overall she felt that the episode was "a delightful outer-space romp."[8]   Forbes gave a positive review. They praised the "fantastic core principle" to the plot. However, they were disappointed with the run time, believing it would've benefited from another five minutes, citing some areas that could've been explored further, particularly the escape from the train. They praised the cast and the lead, reflecting that "The Doctor infects Capaldi's performance. Drawing on his love for the series I could see the influences of many of the previous actors to take on the role," and praised the development of the Doctor and Clara's relationship. They called Mathieson's script "an impressive debut."[9] The A.V. Club also heavily praised the episode, awarding it another perfect "A" grade. They said, "When the time comes to write the final accounting of the 12th Doctor—and hopefully we won't need to do that for a little while yet—'Mummy On The Orient Express' will loom large. This episode is a triumph for Peter Capaldi." They added that it was "the latest superb episode in a strong season" and that "Peter Capaldi's performance is enough by itself to elevate this story to classic status, but Jamie Mathieson's script provides him excellent support".[10]    

From Wikipedia, the free encyclopedia 240 – "The Day of the Doctor"  episode Official poster Cast  ()  ()  ()  () Others  – /The Moment  –   – Osgood  – Androgar  – The General Philip Buck – Arcadia Father  –   – McGilliop Aidan Cook,  –   – Voice of the/Zygons ,  – Daleks  – The Curator/ John Guilor – Voice of the   – (uncredited) Production Director Script editor Richard Cookson Producer Marcus Wilson Executive producer(s) Steven Moffat Faith Penhale Incidental music composer Series Length 76 minutes Originally broadcast 23 November 2013 (GMT, simulcast internationally) Chronology ← Preceded by Followed by → """" (mini-episode) "" "The Day of the Doctor" is the 799th episode of the British  programme , and marks the programme's fiftieth anniversary. It is written by , an executive producer alongside Faith Penhale. It has been described by series producer Marcus Wilson as a "love letter to the fans" and by the controller of , , as an "event drama". It was shown on on 23 November 2013, in both 2D and 3D. The special was broadcast simultaneously in 94 countries, and was shown concurrently in 3D in some cinemas. It achieved the  for the largest ever simulcast of a TV drama. The episode shows the last day of the , in which a  of  faces his choice to kill both  and his own race of  in an act of mass destruction, paralleling this with a present-day choice by paramilitary organisation  to destroy  rather than allow an alien invasion. It reveals how, contrary to previous plotline understanding, the Doctor followed plea to change his mind at the last instant of the Time War, and hid the war-racked planet Gallifrey in time, rather than destroy it, but due to the distortions of time incurred, had retained no memory of his changed decision. The episode starred  as the  and  as his companion, . Previous lead actors  and  returned for the episode, Tennant reprising his role as the , while Piper portrayed a sentient doomsday weapon called the Moment, projecting an image based on her character , invisible and inaudible to everyone but the , played by, introduced for the first time in the  as an unknown past incarnation of the Doctor. Other appearances included a very brief view of the upcoming, expected to succeed Matt Smith in , and a significant  by  actor , now in his late 70s and the earliest surviving actor to have played the title role. Rounding out the guest cast,  starred as , while  returned to portray the in-series daughter of 1970s central figure .The special also featured the return of the , and the , shape-shifting aliens who had previously only appeared in the 1975 serial . Contents   []  Mini-episodes See also:  and  Two mini-episodes written by Steven Moffat, "" and "", were released shortly prior to "The Day of the Doctor". They depict events occurring during the  between the Doctor's own race of  and his , the . In "The Night of the Doctor",  reprised his role as the  from the and subsequent  audio plays. He is a to the ongoing Time War and intends to rescue a crew member from a crashing spaceship via the . Realising that he is a , she refuses to comply, preferring to die rather than go with him. She and the Doctor die as the ship crashes on Karn. The Doctor is resurrected temporarily by the Sisterhood of Karn. They persuade the Doctor to take action to end the Time War, offering him a selection of potions to control his regeneration. He chooses a potion designed to initiate his regeneration into a hitherto unknown  of the Doctor as a "warrior" (described in credits as the "" and played by ). "The Last Day" is filmed from the first-person perspective of a Gallifreyan soldier who has had a camera implanted in his head. The soldiers scan for Daleks at Arcadia, Gallifrey's second city and believed due to its impregnable defences to be the safest place on the Time Lords' home planet. During training exercises, a blurred object in the sky is identified surprisingly as the first of a fleet of successfully invading Daleks, which kill the soldiers. The "Fall of Arcadia" becomes the central battle of the Time War around which "The Day of the Doctor" is centred. Plot At , teacher  receives a message from the  and returns to the , which is unexpectedly  to . Kate Stewart of the paramilitary organisation  shows the Doctor preserved instructions from previous wife , along with the Under-Gallery, a secret vault of forbidden art housed at the . The vault includes several works of  art: moments of time preserved in stasis that take the form of "3-D pictures". One such work, called either No More or Gallifrey Falls, shows the fall of Arcadia on the last day of the Time War, an event believed to have obliterated both the Time Lords and the  from the universe. The glass of several of these pictures has been broken from within and figures in the paintings have disappeared. It transpires that the  , preserved in stasis in the pictures, are invading, taking the forms of UNIT members. To defeat them, Kate plans to detonate a nuclear warhead in London from within UNIT's "TARDIS-proof" Black Archive of Time Lord and other alien artefacts. The detonation would will wipe out London but save the rest of humanity. In the midst of the Time War, the —a hitherto-unknown "hidden" incarnation of the —watches Gallifrey falling to the Dalek invasion. He decides to trigger an ancient  called "the ", a "galaxy eater" which will destroy both races completely. The Moment, however, is sentient and possesses a conscience. Its interface manifests with the form of his future assistant  to challenge whether mass killing is his best option and to show him the future personal consequences of his actions. The Moment opens fissures in space and time between these two points in the timeline and Elizabethan England, depositing the Eleventh Doctor and the War Doctor near the  and a young Elizabeth I under threat from Zygons, who are using the time period to secret themselves into the stasis of the Time Lord paintings as to invade in the contemporary future. All three Doctors are captured and imprisoned in the , where the Moment encourages the War Doctor to form an escape plan involving calculations which would take "centuries", but which, being begun on the War Doctor's , are therefore now completed on the Eleventh's screwdriver, four hundred years in its future. The Eleventh Doctor, meanwhile, inscribes in stone the code necessary to activate a  stored in UNIT's Black Archive. Found by his allies in the present day, it allows Clara to both escape the Zygons and free the Doctors, by travelling into the past. Using the same technique to "travel" to the present via the Time Lord paintings as the Zygons, they gain entry to the Black Archives despite its TARDIS-proof defences. They use the Black Archives' mind-wiping facilities to erase the memories of the humans and Zygons present, causing them to forget who is human and who is Zygon in human form, and forcing them to cancel the detonation and discuss peace. The War Doctor, now convinced that detonating the Moment will allow his future selves to save many more lives, is returned to his time by the Moment. His other two present incarnations appear with the intention of detonating the device alongside him so as to share his burden. Clara, reminding them that he chose the name "Doctor", implores that he seek a different solution. The three Doctors finally think of an alternative solution, to put the planet Gallifrey in stasis in a moment of time, leaving the Daleks surrounding the planet to be obliterated by their own firepower; to the rest of the universe it would still appear that both sides wiped each other out. The three work with the consent of the desperate Time Lords and summon all of the Doctor's other past incarnations – as well as  – to successfully execute this plan. The three Doctors and Clara return to the Gallery, unsure whether it is possible to return Gallifrey from stasis. The War Doctor is content to think that he failed in doing the right thing, rather than succeeding in doing the wrong thing. He realises that neither he nor the Tenth Doctor will remember what happened, and will continue shouldering the guilt for centuries. After departing, the aged War Doctor finds himself beginning to  within his TARDIS. The Tenth Doctor also leaves, having persuaded his successor to tell him about his impending death on the planet . The Eleventh Doctor, now alone in the Gallery, is joined by its mysterious curator, who appears to resemble an aged version of the. The Curator enigmatically suggests that he might be a future incarnation of the Doctor, as well as commenting that the painting's actual name is neither No More nor Gallifrey Falls, but Gallifrey Falls No More. The Doctor surmises that his plan to save Gallifrey was successful. In closing, the Doctor describes a recurring dream, in which he and his eleven previous incarnations are looking together upon Gallifrey. The Doctor vows to find and restore Gallifrey. Continuity As the show's 50th anniversary special, the episode contains multiple references to previous episodes. It opens with the title sequence and theme arrangement used at the series' debut in 1963. Echoing the opening of the very first story, , a policeman is shown walking past the sign for I.M. Foreman, the scrap merchant in whose yard the TARDIS was located, and its first few seconds are in monochrome (as had been the case in , the last time more than one Doctor had featured in an official story)., where the Doctor's granddaughter  went when they were on Earth in 1963, also featured in both the original story and the 1988 serial . According to the school sign, the chairman of the school governors is now , formerly one of the First Doctor's original three companions and a science teacher at the school, and the headmaster is W. Coburn, a reference to  and ,[] who respectively directed and wrote An Unearthly Child. Clara rides out of Coal Hill School on the Eleventh Doctor's anti-gravity motorcycle from "" at 5:16, the time An Unearthly Child originally aired on  television (the first broadcast began 1 minute 20 seconds after its scheduled time of 5:15  on 23 November 1963.). The same date and time were also reflected in the activation code of the vortex manipulator, 1716231163 (signifying 17:16 23/11/1963). When the TARDIS is picked up by , the call sign used by the helicopter to refer to UNIT is 'Greyhound leader', reflecting that of,[] whose daughter Kate is now portrayed as having his role as commander of UNIT. Lethbridge-Stewart was a central character in the 's era and also several of his successors', originally appearing in the serial  and making his last appearance in Doctor Who in  serial , which is also referenced. An image of the Brigadier is seen alongside images of various companions of the Doctor. Kate's assistant, Osgood, is also a name from that era (UNIT technician Osgood from ) and her scarf is very similar to that worn by the Fourth Doctor; the Eleventh Doctor remarks that it is a "nice scarf". Osgood also uses it to trip up her Zygon duplicate who was standing on it, a nod to the Fourth Doctor's actions against a thug in his first story Robot. Kate Stewart twice mentions her subordinate, Malcolm, presumably the same UNIT scientist named Malcolm played by  in "".[] The controversy, regarding whether the  era stories took place in the 1970s or 1980s, is referenced in dialogue by Kate Stewart, when she mentions that events occurred in "the '70s or '80s depending on the dating protocol used". The Tenth Doctor's era is also heavily referenced, elaborating on his marriage to Queen Elizabeth I originally mentioned in his final story,  and first referred to in "". It is implied that he deserted her shortly after the wedding as part of his (fruitless) attempt to flee his impending death, hence her fury at him when she finds him at the Globe Theatre;[]at that time he had no idea why she was so angry, since the events of "The Shakespeare Code" occur much earlier than those of "The Day of the Doctor". The Tenth Doctor's speech to a rabbit whom he believes to be a Zygon is partially taken from the Christmas special, "". The Tenth Doctor mentioned the Fall of Arcadia in "". When he leaves after learning of Trenzalore, the Tenth Doctor remarks, "I don't want to go...", his incarnation's final words from The End of Time; the Eleventh Doctor tells Clara that "he always says that" after his TARDIS leaves. The Eleventh Doctor's fixation with  – a linking item in this story – begins in "" and reappears in "", "", and "". The Moment device was originally mentioned in The End of Time, but had not been explored in depth. Here, it takes the form of "", a seemingly omnipotent being and personalisation of the  itself, which manifested in  when she absorbed the Time Vortex in the  finale, "". Other references come heavily from the previous multi-Doctor anniversary stories, The Three Doctors and The Five Doctors. The Eleventh Doctor's dismissal of the Tenth Doctor and War Doctor as "the sandshoes and grandad" to mock their respective trainers and age echo the First Doctor's description of his two successors in The Three Doctors as "a dandy and a clown"[]. Likewise, a Time Lord says, "I didn't know when I was well-off! All twelve of them!" which recalls the Brigadier's line from The Three Doctors: "Three of them, eh? I didn't know when I was well off." More of the Brigadier's dialogue from the latter serial is referenced when Kate asks for an incident report code-named "Cromer"; in the earlier story, upon being transported to another universe, the Brigadier initially believes himself to be near the coastal Norfolk town. A line from the First Doctor, this time from The Five Doctors, is also referenced near the end as the Tenth Doctor tells the Eleventh, "It's good to know my future is in safe hands" (which the First told the Fifth in the earlier story, appended by "after all"). In trying to compensate for the presence of three Doctors who utilise different console rooms, the Tenth Doctor's TARDIS console briefly changes to the War Doctor's console room, seen again later in the episode, before settling on the Eleventh's; according to the script, the fact that all three are together has knocked their time streams out of sync and the TARDIS is reacting to that.[] The Tenth Doctor comments upon the Eleventh Doctor's TARDIS console, "Oh you've redecorated! I don't like it", a line originally used by the  speaking to the Third in  and later reused by the Second and Eleventh Doctors respectively in and "". There were plenty of other script references to both the recent and classic history of the programme. When the Tenth and Eleventh Doctors aim their  at troops in 1560, the War Doctor asks if they plan to "...assemble a cabinet at them?", a line used by  when the Eleventh Doctor points his screwdriver at  in a fight scene of "". The white roundels in the wall of the War Doctor's TARDIS were featured in the classic series' original TARDIS console rooms from 1963 to 1989 before being removed for the more elaborate TARDIS console used by the Seventh and Eighth Doctors in the TV movie. Seeing the white roundels, both the Tenth and Eleventh Doctor are pleased, but are uncertain as to what they are for. The final scene in the Gallery, containing 's  as the curator,  somewhat, as he enigmatically talks to the watching audience and Eleventh Doctor in a short  upon the Doctor's past and future activities, ultimately (in the context of the episode) deterring questions about his apparent knowledge with the comment, '"Who" Knows?'. Cast  as the .  as the . Excluding flashbacks and archived footage, Tennant had not appeared in Doctor Who since his final regular appearance as the Doctor in the concluding scenes of , broadcast on 1 January 2010.  as companion . The special was the first time the actress was credited on the show simply as Jenna Coleman, dropping the Louise part of her name seen in previous episodes.  as the Moment Interface, a Gallifreyan super weapon. While credited as , Billie Piper was instead portraying the projection of the Moment's user interface which had taken the form of the Doctor's then-future companion.[] Piper has not portrayed Rose as a series regular since "", although she reprised her role in various episodes of the fourth series and appeared briefly in The End of Time.  as the , the Doctor's warrior-like forgotten incarnation. The War Doctor came between the  and Doctors, and renounced the title of Doctor.  as 's daughter Kate Stewart, who previously appeared in "", having been originated by actress Beverley Cressman in the direct-to-video spin-offs,  and .  as . Page is the third actress to portray Elizabeth I on Doctor Who, following Vivienne Bennet () and  ("").  as Osgood. Throughout the special, Osgood is seen wearing a copy of the 's iconic scarf.  as Androgar, a .  as the General of Gallifrey. Jonjo O'Neill as McGilliop. Aidan Cook and  as the .  as the voice of the  and the Zygons.  and  as Daleks.[]  as the Curator, a mysterious character who informs the Eleventh Doctor of Gallifrey's survival at the end of the episode. His resemblance to the  is alluded to, but left unexplained. , , , Tom Baker, , , ,  and all appear in the special as their respective Doctors, through the use of archive footage and voice doubles. All are credited as "the Doctor" alongside Smith, Tennant and Hurt in the episode's closing credits. John Guilor provided voice acting for the First Doctor, though he was credited as "Voice Over Artist".  makes an uncredited cameo appearance as the , prior to taking over the lead role from Smith in the 2013 Christmas Special, titled "". Casting Both David Tennant and Billie Piper returned to appear in the 50th anniversary special On 30 March 2013, a distribution error occurred, and many subscribers to received the issue five days before the official release date. The issue of the magazine included the official announcement that and , who previously played the  and in Doctor Who respectively, were lined up to appear in the special, along with actor . Moffat did not want to bring Rose the character back because he felt her story was wrapped up and did not feel comfortable adding to Davies' arc. However, he liked the concept of bringing back her Bad Wolf persona and felt that Piper needed to be in the special as she symbolised the rebirth of Doctor Who. John Hurt did not actually audition for the part, but had been asked by the production team and "said yes with remarkable speed".His costume was meant to signify that he was "rougher, tougher", and had been around for a while; the audience had missed a lot. Hurt's request to keep his beard adds to this effect, and makes him the first bearded Doctor.  discussed plans for the anniversary episode with Moffat, but eventually declined to return as the ., who played the , claimed that none of the surviving actors who portrayed the Doctor prior to Eccleston were contacted regarding the special.  confirmed this while being interviewed on Australian television alongside McCoy and . However, McGann went on to say that he could still be in the 50th but at the last moment. reported rumours that a Doctor from the classic era would feature in the special, citing unknown sources.  and, who played Tenth Doctor companions  and , respectively, both stated they would not be in the 50th, but may return to the show at some point. Barrowman stated that he would have liked to be in it, but speculated that the producers wanted to try some different things. Production Publicity Steven Moffat previously stated, "Most things that have been said about the 50th are not true... Normally I am responsible for the disinformation and the rubbish rumors—I usually put them out myself, but I haven't needed to for this one." On the importance of the episode, Moffat has stated that it will "change the narrative" of Doctor Who. "", an additional 7-minute special, was released on 14 November 2013, and featured the  ()'s regeneration into the  (). Another 4 minute special, entitled "", was released on 20 November 2013 and saw the start of the Fall of Arcadia. On 4 November 2013, the BBC released the official synopsis: "The Doctors embark on their greatest adventure in this 50th anniversary special. In 2013, something terrible is awakening in London's National Gallery; in 1562, a murderous plot is afoot in Elizabethan England; and somewhere in space an ancient battle reaches its devastating conclusion. All of reality is at stake as the Doctor's own dangerous past comes back to haunt him." On 22 November 2013,  stated on  "I can say something about my character; it's not Rose as we know her" to about the episode.[] Writing "The Day of the Doctor" was written by , current head writer of Doctor Who, and produced by Faith Penhale in , with  directing. Moffat began writing the script for "The Day of the Doctor" in late 2012, announcing that, as a security precaution, he had not produced any copies, instead keeping it on his computer "under lock and key" until it was needed. Moffat had often thought about featuring a "mayfly Doctor" who appears for a single episode, asking, "Would it be weird in the run of the series to have the 45th Doctor turn up and be played by  or someone? Would that be a cool thing to do?" He also indicated that the "classic Doctor" he would most like to feature in a new story was 's , stating, "You'd want him to come and say 'What in the name of God have I turned into?' That's the confrontation that you most want to see, to celebrate 50 years. Going round and round in circles on it I just thought, 'What about a Doctor that he never talks about?' And what if it is a Doctor who's done something terrible, who's much deadlier and more serious, who represents that thing that is the undertow in both David and Matt. You know there's a terrible old man inside them. Well, here he is, facing the children he becomes, as it were." Knowing that Matt Smith was planning to leave, Moffat wrote the special specifically with the brief appearance of the  during the sequence of all of the Doctors uniting to save Gallifrey, prior to casting anyone in the role. Moffat later stated of the 50th episode, that it was his "plan from the start" that all the Doctors would fly in to save Gallifrey, and he knew there would be a new one at that time. He wrote it before knowing who would be cast. Typically, Doctor Who's anniversary stories are named after the number of returning Doctors, as with  and . Moffat explained his choice of title to SFX magazine, commenting that "... it's very rare in Doctor Who that the story happens to the Doctor. It happens to people around him, and he helps out – he's the hero figure who rides in and saves everybody from the story of the week. He is not the story of the week. In this, he is the story of the week. This is the day of the Doctor. This is his most important day. His most important moment. This is the one he'll remember, whereas I often think the Doctor wanders back to his TARDIS and forgets all about it." Filming Because "The Day of the Doctor" was filmed in 3D, the episode took longer than usual to shoot, especially as every  shot had to be done twice. Filming began on 2 April 2013 in , . On 9 April 2013 scenes were filmed for the special in , . On 17 April 2013 , ,  and  filmed scenes in ,, , and some scenes were shot in . On 2 May 2013, scenes in  were being filmed for scenes that take place at Totter's Lane and Coal Hill school, locations which had previously featured in the first 1963 serial , the 1985 serial , and the 1988 serial . Filming for the special was completed on Sunday 5 May 2013. From 4–5 May 2013, Paul McGann returned to Doctor Who alongside John Hurt's War Doctor, to record "The Night of the Doctor". Marketing Trailers The first trailer for the special was shown to attendees of  in July 2013. The BBC's decision not to release the trailer online to international fans was met with controversy. On 26 July, the BBC responded to criticisms by saying the trailer was intended to be exclusive to Comic-Con attendees and that content for all other audiences would be forthcoming at a later date.The trailer was also screened at The Edinburgh International Television Festival, at the end of Charlotte Moore's "Meet The Controller" session.[] On 28 September, the BBC revealed that the trailer for the special had been specifically shot and was currently in post-production. On 19 October 2013, a specially-made teaser trailer, directed by Matt Losasso, was shown on BBC One, and was then subsequently posted online. It contained icons from the history of the show and had a monologue by Matt Smith, as well as body doubles and  to create shots of previous Doctors. A clip from "The Day of the Doctor" was shown at the BBC's  show on Friday 15 November. The official trailer for the episode aired in the United Kingdom at 8 pm GMT on 9 November. Due to the leak of a trailer earlier on 9 November on BBC Latin America's Facebook page, the BBC officially released it ahead of schedule. A second official trailer was shortly released later. Furthermore, before the release of the main trailers, a short clip previewed the Eleventh Doctor and Clara examining a seemingly impossible painting. On 10 November 2013, a short clip of the Eleventh Doctor announcing "The clock is ticking" interrupted a BBC One ident. This was followed on Monday 11 November by another ident interruption, with the Eleventh Doctor stating "It's all been leading to this..." Viral marketing On 28 September, the BBC unveiled a   (#SaveTheDay) and an  that was used to promote the special.Respectively, the hashtag and the ident were shown before and after the premiere of  on BBC One. The hashtag was used to reveal all subsequent promotional material. On 7 November 2013, a video starring Smith in character as the Doctor was released promoting the hashtag, promising exclusive content. A website was launched to reveal the content. Broadcast Countries that screened "The Day of the Doctor" simultaneously.   Countries that screened on TV.   Countries that screened in cinemas.   Countries that screened both on TV and in cinemas. The BBC broadcast the episode in 94 countries simultaneously, in order to avoid plot leaks. It earned a  for the world's largest ever simulcast of a TV drama. The  rated the episode PG for mild violence and threat. The  also rated the episode PG for "mild science fiction themes and violence", noting there was "very mild impact" with regards to sexual themes. The episode broadcast at 7:50pm in the UK, and was preceded and followed by other Doctor Who related programmes and broadcasts, including broadcast of an after-party. Canadian  rated "The Day of the Doctor" PG in , G in  and G in. Broadcasters The following is a list of some broadcasters that aired "The Day of the Doctor" on 23 or 24 November 2013, depending on time zones. CountryChannel    and  (television) and Hoyts (cinema)    (television),  and  (cinema)   Haydn and  (cinema)             BBC Entertainment and BBC HD   BBC Entertainment and BBC HD (television)Movie Center (cinema)                            BBC Entertainment         BBC Entertainment and BBC HD (television)Cinemark (cinema)    (television) (television) (cinema)   Cinemaxx (cinema)    ( and Yle HD)      (television)Cinemaxx, Cine Star and UCI (cinema)    (television) (cinema)   Bíóparadís (cinema)      (not simultaneous, 20 minute delay and commercial breaks)   Kinopark and Chaplin Cinema (cinema)   BBC One    (not simultaneous, 10 minute delay) (cinema)   Fredrikstad Kino, Kristiansand Kino, Trondheim Kino,Volda Filmteater, Ringen Oslo Kino and Bergen Kino (cinema)    and NST (television)CoolConnections (cinema)   BBC Entertainment Asia   Cinesa (cinema)   Bio Roy and Tumbascenen Bio (cinema)    BBC One     Kronverk Cinema (cinema)   BBC One,  and BBC 3D (television),  and  (cinemas), as well as independent cinemas around the UK.    (television), , Cinemark and  (cinema) Home media "The Day of the Doctor" is planned to be released on DVD and 3D Blu-ray on 2 December 2013 in the UK. It will be released on 4 December 2013 in Australia and 10 December 2013 in North America. Reception "The Day of the Doctor" received instant positive reactions. Ben Lawrence of  gave the special five stars, calling it "charming, eccentric and very, very British." 's Simon Brew praised the special, calling it "terrific", and stating that it was "pulsating with comedy, ambition, and top to bottom entertainment." Jon Cooper of  gave the episode five stars, stating that it "not only gives hardcore fans a beautiful reinvention of their favourite show but also gives casual viewers a stonking story and a reminder why we all love this show so much." Jim Shelley of  called the episode "a clever, chaotic, infuriating combination of nifty, knowing tiny detail and big, hollow, pompous bluster." However, he disliked the effects, accusing the BBC on pandering to the American audience, as well as disliking the Zygons, deeming them not "scary enough," and naming Matt Smith and David Tennant "irritating." 's Chris Taylor stated that the episode is "one designed to please fans and newcomers alike," and that it "shows why the Doctor is finding his way into ever more homes and hearts." 's Viv Grospok criticised various elements of the episode, though concluded that "it was all worth it." Social analytics website SecondSync revealed that Doctor Who generated almost 500,000 "tweets" on  during its broadcast, with the peak number of tweets occurring at the beginning of the broadcast, at 12,939 tweets per minute. Overnight figures revealed that the episode had a total of 10.18 million viewers for the live broadcast in the United Kingdom, while the box office takings for its cinema screenings totalled £1.7m (US$2.2m), which placed it at number three in the UK film chart for the week, behind  and . The live simulcast on , at 2.50pm /11.50am , had a total audience of 2.4m viewers, with a further 1.2m watching the later repeat, the largest audience in the channel's history. The cinema screenings, on a total of 660 screens nationwide, took a total of US$4.8m (approx £3m) at the box office, placing it at number 2 in the US chart. The special had a total of 1.95m viewers for its two broadcasts in Australia, with 590,000 watching the live broadcast on  at 6.50am /3.50am AWST, and another 1.36m watching the repeat at 7.30pm, while the cinema box office takings totalled AU$1.54m, putting it at number three in the Australian film chart.  A total of 1.7m viewers watched the two broadcasts on Canadian channel , making it the most watched entertainment programme in Canada on the day, with the 1.1m watching the live broadcast at 2.50pm  being the channel's largest ever audience. Worldwide, cinema screenings brought $10.2 million at the box office. See also , a parody tie-in to this episode. Notes References ^   Sources that refer to John Guilor's role as the voice of the in the special include: Southall, J. R. (25 November 2013). . . Retrieved 28 November 2013. Kistler, Alan (26 November 2013). . . Retrieved 28 November 2013. ^   . Bbfc.co.uk. 2013-10-25. Retrieved 2013-10-30.  Radio Times Staff (10 September 2013). . RadioTimes. Retrieved 10 September 2013.   (10 September 2013). . . Archived from  on 10 September 2013. Retrieved 10 September 2013.  Mellor, Louisa (10 September 2013). . . Retrieved 10 September 2013. ^    . BBC News Entertainment & arts (: BBC). 11 February 2013. ^   . Media Centre. BBC. 13 March 2013. Retrieved 14 March 2013.  . Radio Times. 30 November 2012.  .BBC News. 30 March 2013. Retrieved 30 March 2013. ^    . Digital Spy. 26 July 2013. Retrieved 26 July 2013. ^    .  website. 24 November 2013. Retrieved 24 November 2013.  . This Week. 12 February 2013. Retrieved 2 April 2013.  .. . 2 August 2013. Retrieved 2 August 2013. ^     . BBC. 30 March 2013. Retrieved 30 March 2013. ^   . . 8 April 2013. Retrieved 9 April 2013.   (22 July 2013). . . Retrieved 22 July 2013.  . BBC. 2 April 2013. Retrieved 2 April 2013.  Howe, Stammers, Walker (1994), p. 54  . BBC. 16 August 2012.  Jones, Paul (20 June 2013). . Radio Times. Retrieved 20 June 2013.  Tobin, Christian (1 April 2013). . Digital Spy. Retrieved 2 April 2013. ^   Leigh, Rob (3 April 2013). . Retrieved 3 April 2013.  . RTÉ. 16 April 2013. Retrieved 20 April 2013.  .DoctorWhoTV.com. 30 September 2013. Retrieved 30 September 2013.  Jeffery, Morgan (9 April 2013). . Retrieved 9 April 2013.  . BBC.co.uk. 16 November 2013. Retrieved 16 November 2013.  . Doctor Who TV. 28 March 2013. Retrieved 5 April 2013. ^   .bbc.co.uk/news. BBC News. 23 November 2013. Retrieved 23 November 2013. ^   . radiotimes.com. . 23 November 2013. Retrieved 23 November 2013.  Wicks, Kevin (24 November 2013). . . Retrieved 25 November 2013. ^   Setchfield, Nick (7 November 2013). . . Retrieved 10 November 2013.  Jeffery, Morgan (5 April 2013). . Digital Spy. Retrieved 5 April 2013.  Jeffery, Morgan (4 April 2013). . Digital Spy. Retrieved 22 April 2013.  Cole, Tom (10 April 2013). . Radio Times. Retrieved 22 April 2013.  Harp, Justin (12 April 2013). . Digital Spy. Retrieved 23 April 2013.  Dowell, Ben (22 July 2013). . Radio Times. Retrieved 24 September 2013.  Harp, Justin (4 March 2013). . Digital Spy. Retrieved 23 April 2013. ^   Curtis, Beth (22 April 2013). . Digital Spy. Retrieved 23 April 2013.   (13 May 2013). . . Retrieved 13 May 2013.  . The Mirror. The Mirror. 31 October 2013. Retrieved 3 November 2013.  . BBFC. Retrieved 3 November 2013.  . BBFC. Retrieved 2 November 2013.  . BBFC. Retrieved 4 November 2013.    Tarley, Rachel (7 December 2013). . Metro.co.uk. Retrieved 5 April 2013.  Brown, David (18 March 2013). . . Retrieved 19 October 2013.  Setchfield, Nick (14 October 2013). . . Retrieved 19 October 2013.  Jeffrey, Morgan (25 November 2013). . . Retrieved 25 November 2013.  SFX magazine, issue 241 (October 2013).  Jeffery, Morgan (21 February 2013). .. Retrieved 19 October 2013.  Dex, Robert (9 April 2013). . The Independent. Retrieved 22 April 2013.  Fitzmaurice, Sarah (18 April 2013). . Daily Mail. Retrieved 22 April 2013.  Kelly, Stephen (3 May 2013). . RadioTimes. Retrieved 6 May 2013.  . Cultbox. Retrieved 6 May 2013.  Anders, Charlie Jane (21 July 2013). . io9. Retrieved 26 July 2013.  Kelly, Stephen (22 July 2013). . RadioTimes. Retrieved 26 July 2013.  Jefferies, Mark (23 July 2013). . RadioTimes. Retrieved 26 July 2013.  Fletcher, Alex (22 July 2013). . DigitalSpy. Retrieved 26 July 2013.  . BBC. 26 July 2013.  .. 28 September 2013. Retrieved 29 September 2013.  Dowell, Ben (19 October 2013). . . Retrieved 19 October 2013.  .  . Doctor Who TV. Retrieved 2013-11-02.  digitaljournal.com. Retrieved 28 November 2013.  . BBC on . 10 November 2013. Retrieved 10 November 2013.  . BBC on . 11 November 2013. Retrieved 11 November 2013.  Brew, Simon (28 September 2013). . Dennis Publishing Limited. Retrieved 29 September 2013.  . BBC. 7 November 2013. Retrieved 8 November 2013.  . BBC News. 24 November 2013. Retrieved 24 November 2013.  . . Retrieved 2 October 2013.   (1 November 2013). . . Retrieved 22 November 2013.  . Official Doctor Who Twitter. 8 November 2013. Retrieved 10 November 2013.  . . Retrieved 2013-11-22.  . . Retrieved 2013-11-22.  .. Retrieved 2013-11-22.  . . Retrieved 2013-11-02.  . The Register. 2013-10-24. Retrieved 2013-10-26.  . Omniplex Cinemas. Retrieved 26 November 2013.  Delgado, Jesús. . hobbyconsolas (in Spanish). Retrieved 31 October 2013.   on site of Kronverk Cinema (ukr.)  . BBC Shop. Retrieved 19 October 2013.  . BBC Shop. Retrieved 19 October 2013.  . TVShowsOnDVD.com. Retrieved 24 September 2013.  Lawrence, Ben (23 November 2013). . . Retrieved 24 November 2013.  Brew, Simon (23 November 2013). . . Retrieved 24 November 2013.  Cooper, Jon (23 November 2013). . Retrieved 24 November 2013.  Shelley, Jim (23 November 2013). . . Retrieved 24 November 2013.  Taylor, Chris (23 November 2013). . . Retrieved 24 November 2013.  Grospok, Viv (23 November 2013). . . Retrieved 24 November 2013.  SecondSync (23 November 2013). . . Retrieved 24 November 2013.  Marcus (24 November 2013). . Doctor Who News. Retrieved 24 November 2013.  Golder, Dave (24 November 2013). . . Retrieved 25 November 2013.  Weight, Anthony (26 November 2013). . Doctor Who News. Retrieved 26 November 2013.  . Doctor Who News. 26 November 2013. Retrieved 28 November 2013.  .Doctor Who News. 27 November 2013. Retrieved 28 November 2013.  . Doctor Who News. 25 November 2013. Retrieved 26 November 2013.  Foster, Chuck (26 November 2013). . Doctor Who News. Retrieved 26 November 2013.  .. Retrieved 27 November 2013.  . Doctor Who News. 25 November 2013. Retrieved 26 November 2013.  Cunningham, Todd (27 November 2013). . . Retrieved 28 November 2013. External links Wikiquote has a collection of quotations related to:   at the   at   at the 

"The Bells of Saint John" is the seventh episode of the  of the British science-fiction drama . It premiered in the United Kingdom on 30 March 2013 as the first episode of the second half of the season. The episode stars as the  and  as . The plot line sees the Doctor finding Clara in present day London and fighting an enemy via the city's " soup". Contents   []  []Plot []Prequel On 23 March 2013, BBC released a short prequel video to the episode, written by. In the prequel, the Doctor is sitting at the swings of a children's playground when he meets a little girl. They talk about losing things, and the Doctor states that he has lost someone twice and he hopes he might be able to find her again. The girl tells him that, when she loses something, she goes to a quiet place for a think, and then can remember where she put it. As the girl leaves, the audience learns that her name is . []Synopsis Following recent events, the Doctor has begun contemplating the mystery surrounding Clara Oswin Oswald, who is referred to as "the woman who died twice", at a  monastery in 1207. The monks soon bring forth news, telling him the "Bells of Saint John" are ringing. The Doctor quickly returns to his (on which is the emblem of ) and realises the external phone is ringing, which it should not do. He answers and finds that on the other end is a young woman from 2013 in , London, who believes she has been put through to Wi-Fi tech support. Whilst helping her, she begins using the phrase "run you clever boy and remember" as a  for her Wi-Fi password. Recognising the same phrase from previous versions of Clara in "" and "", the Doctor realises who she is and departs for the future in his TARDIS. Unbeknown to him, Clara has connected to a different Wi-Fi network labelled by alien-like symbols. The connection alerts a technician working under Miss Kizlet (), who instructs him to send a "mobile server" to her address - a humanoid robot that can take the appearance of anyone taken from a person's memories. These are nicknamed 'Spoonheads' by the technicians because of a spoon-like antenna dish on the back of their head that they use to upload their victims to Kizlet's . By the time the Doctor arrives, the Spoonhead has gained access to her house and begins downloading Clara's consciousness. The Doctor interrupts the operation and restores Clara, but his interference is noted by Miss Kizlet. He sends her a message and, after informing her 'client', she orders her agents to track down the Doctor and Clara. When Clara recovers, the Doctor explains that someone is using the Wi-Fi networks to download and use human consciousnesses all over London for some unknown purpose; he also proves this by demonstrating that Clara has gained new-found computer skills due to her encounter. When Miss Kizlet's agents discover the pair, she orders the Wi-Fi network to be activated, causing the crew of a passenger jet to fall asleep and the lights of London to be put out. The plane descends towards the pair on a collision course and the Doctor drags Clara to the TARDIS. They park it in the rear of the aircraft and help to prevent the plane from crashing, while protecting the crew and passengers from the Wi-Fi - which allows them to awake - before departing. Much of the episode takes place around , inside which Miss Kizlet's organization is stated to be working. The Doctor and Clara land the next morning and take a motorbike to a a café adjacent to . The Doctor is unable to find the base of operations for the Wi-Fi network from Clara's computer, but she offers to use her new skills to do so. The Doctor enters the café to get coffee when Miss Kizlet, using the various patrons in the café, taunts the Doctor and shows her abilities to control the London population. Meanwhile, Clara hacks the webcams used by the technicians and, using social media, discovers that the technicians work at . She tells this to the Doctor without realising that it is actually a Spoonhead, and her consciousness is uploaded before the real Doctor can stop it. The Doctor, not wishing to lose her again, rides to the Shard on his motorbike, and uses its anti-gravity feature to scale the Shard, crashing into Miss Kizlet's office. She calmly explains she is doing the work of her client who needs the human consciousness for 'its' purposes and refuses to release the stored consciousnesses. The Doctor reveals that he is really the Spoonhead she sent to the cafe, being controlled by the real Doctor, who is still there. The Doctor downloads Miss Kizlet into the array of other consciousnesses, and then alters the obedience of her second-in-command to release all of them. Clara is restored to normal. As  forces rush in to secure the facility, Miss Kizlet explains to her client, the , that she has failed him, and proceeds to do a "system reset"; she and all the other technicians are reverted to a mental state before they were part of the Great Intelligence's plan - with all considerably confused, though Miss Kizlet reverts back to her childhood. The Doctor introduces himself properly to Clara in the TARDIS and offers to take her with him to any place in space or time. She rebuffs his request, though tells him to come back the next day as she may change her mind. He gladly agrees, and as she leaves, he decides it's time to unravel the mystery behind her. []Continuity Summer Falls, the book that Clara spots Artie reading, is written by "Amelia Williams", the married name of the Doctor's previous companion and mother-in-law ; she had been a travel writer in the 21st century before being permanently sent back to the early 20th century, and becoming the editor of 's detective novel/guidebook. The Doctor pulls out a , which was previously a plot point in "", and referenced several times thereafter. The Doctor at one point gives Clara a plate of , in which he had shown an interest in the episode "". The Doctor refers to a motorcycle that he rode in the "Anti-Gravity Olympics 2074"; the Anti-Gravity Olympics were also referenced in the opening moments of the 2006 episode "". The TARDIS' exterior public-use emergency telephone rang previously only in the  episode, "", also written by Steven Moffat. The "Doctor who?" line, having been used continually since the première episode, "", has had in-universe significance since "". Each of Clara's three incarnations thus far have uttered it upon meeting the Doctor. The Great Intelligence makes its second appearance in a row after appearing in the preceding episode, "". From the Intelligence's perspective, more than a century has elapsed. During this time, the Intelligence has encountered the  twice; once in 1935 () and again 40 years later (). It uses Dr Simeon's appearance to communicate. []Production Writer  described the premise as "the traditional 'Doctor Who' thing of taking something omnipresent in your life and making it sinister, if something did get in the Wi-Fi, we'd be kind of screwed. Nobody had really done it before, so I thought, 'It's time to get kids frightened of Wi-Fi!'". He denied that his intention was to give a warning about technology, but rather tell an adventure story about a "new way [for aliens] to invade" based on something viewers were familiar with. It was producer Marus Wilson who suggested that the episode be an "urban thriller", as the story would already be set in contemporary London to introduce Clara and the Wi-Fi monsters. Moffat compared the style to  and . Moffat said that the episode was "an action roller coaster" rather than a story intended to be scary. Despite being announced as the actress to portray the new companion,  had first appeared as two different characters, called Oswin and Clara respectively, in "" and "", but "The Bells of Saint John" introduces the character who will be the Doctor's travelling companion. Coleman played each version of the character as individuals with "trust that there would be a payoff" to her mystery. Moffat described this version of Clara as "more real-world".Smith stated that Clara "reignites [the Doctor's] curiosity in the universe and gives him his mojo back". The  for "The Bells of Saint John" took place on 19 September 2012 at . Filming began on 8 October. Some filming took place in London, at the  Bridge and alongside the , with motorbike scenes at the London locations were filmed around 16 October 2012. "The Bells of Saint John" is the first Doctor Who episode to be directed by . []Broadcast and reception "The Bells of Saint John" first aired in the  on  on 30 March 2013, and on the same date in the  on  and in  on . It aired a day later on 31 March in  on  and in on , and is due to air on 11 April 2013 on  in . The episode received an overnight rating of 6.18 million viewers in the UK, peaking at 6.68 million. It was in third place for the night.The episode received an  of 87. []Critical reception "The Bells of Saint John" received positive reviews, but with several critics feeling underwhelmed by the story. Nick Setchfield of gave the episode four and a half out of five stars. He was positive towards the visual style and the plot, as well as the performances of Smith, Coleman, and Imrie.  reviewer Patrick Mulkern was pleased that Coleman was playing Clara as a straightforward companion, and highlighted her chemistry with Smith. He described it as "a hugely enjoyable episode that revels in its modern London setting", praising the way its ideas were realised visually on-screen. 's Hilary Wardle gave "The Bells of Saint John" episode four out of five stars, noting that it moved at a fast pace and the plot was similar to "" (2006) but "very well done". She especially praised the chemistry between Smith and Coleman. Ben Lawrence, writing in , gave the episode four out of five stars, saying that it had much to "enthral" a present-day viewer and showed how Doctor Who was constantly reinventing itself. A similar statement was made by Euan Ferguson of , who also wrote that the episode was "splendid" with good villains, though he felt that the plot was "insanely complicated" and hard to understand. 's Morgan Jeffery also rated "The Bells of Saint John" four stars, feeling that the threat "leaves a little to be desired" and the Spoonheads' physical appearance was not memorable. However, he said that "practically everything else here is wonderful", especially Clara's new characterisation.  reviewer Mark Snow rated the episode 8.2 out of 10. He praised the Wi-Fi concept but was underwhelmed by the Spoonheads, and felt that it was more low-key than it was promoted. 's Aladair Wilkins gave "The Bells of Saint John" a grade of B, explaining that the plot suffered just as previous companion introductions had because the threat was secondary to establishing Clara. He also wrote that the episode "struggles to make all its chosen genre elements compelling" and was not positive towards the menace of the Wi-Fi and questioned how realistic the technology seen was. Despite this, he said that it was still "fun" with good performances. Dan Martin of  was disappointed, writing that it "makes a hearty meal of its iconic London locations ... But after the tour de force that was "", it feels as though this handsome episode constantly just misses the mark". He found the monsters and plot familiar to past episodes, but noted that a "generic" opening episode had been common for the show when it was introducing a new companion, which was done successfully with Clara. Neela Debnath in  echoed similar sentiments, feeling that it did not live up to the hype and reused several elements from previous episodes. Jon Cooper of the  wrote that "The Bells of Saint John" "had its moments" but "as a whole it didn't reach the heights of previous episodes". While he welcomed the departure in tone, he felt that the set-pieces were shoehorned in, and also expressed concern that Clara, despite Coleman's success, was too similar to previous companion  (). []References