New Series Dalek Customs Collection Tour – Even More Destroyed Daleks

Welcome to the next instalment in this series of Dalek customs showcases, a tour through my collection of custom-made New Series Daleks that have been altered and painted to appear destroyed, with some marked with stamps for the Dalek Asylum. In the previous two-part feature we delved back into the Dalek Asylum to look at more customs. These are more destroyed Daleks that are doomed to rot in the Dalek Asylum for all eternity. All of these customs are made by me unless stated otherwise in the description.

Abandoned Dalek Casing

Due to the centuries spent languishing in the Asylum, many of the insane Dalek inmates are crazy enough to try and escape from their casings, particularly the ones with cybernetic enhancements that allow them to slowly adapt to living for longer and longer periods outside of their shells. The mutant that formerly resided inside this Dalek casing has reach a point where it can abandon its metal prison altogether, leaving the damaged remains to gather dust in some dark corner of the Asylum. To create this custom a mutant reveal Dalek was used with the mutant itself removed, and the front panel cut in half and attached to the casing with plastic pieces. The wires came from an old TV cable and all the paint was done with Citadel applied using a dry brush.

Destroyed Time War Commander

During the Time War the Asylum saw an unprecedented increase in inmates – sometimes dozens would arrive in a single day. Due to a huge overload of the Asylum systems many of the automated drones were assigned to repair duties, leaving many of the more aggressive inmates unguarded. As a result, heavy infighting is now a common occurrence in the Asylum, which the central computer allows in order to keep numbers down. This Dalek Commander was a particularly unfortunate casualty of a conflict between various factions, and the blasted casing now sits as a grim relic of the Time War, that for some Daleks in the Asylum still rages to this day. This custom used a yellow and black Dalek Commander figure as a base and plastic pieces for the insides of the casing. The dead mutant is a combination of tissue paper, hot glue and Citadel paints and hot glue was used to attach a sucker arm and gun socket to the middle of the casing.

Spider Eggs Dalek

Cobwebs were a recurring feature in the episode Asylum of the Daleks, with many of the Daleks in the Asylum (particularly the Classic Daleks) being covered with spider webs. However, this creates an interesting implication, in that it means the Asylum is also home to a population of spiders. Logically, these creatures must eat and reproduce, and so this custom represents what the local spider population might do in order to eat and lay eggs – with an unfortunate Dalek as the host. It stands to reason that the spiders would adapt to use the Daleks as a means of reproduction, and perhaps even food, as the spiders themselves may have been converted into another extension of the on-site defence system thanks to the tenacious nano-cloud that surrounds the Asylum. This custom uses a black Dalek as a base that was cut up using a hacksaw and heavy duty wire cutters. The inside was created using plastic, wires and small blobs of hot glue to represent spider eggs, with the end result spray painted silver to add to the spider aesthetic.

Destroyed Asylum Inmate

In-fighting in the Asylum has brought several factions to complete extinction – and their remains are salvaged by Dalek Splicers that scavenge for spare parts among the wreckage. This Dalek was a Commander in a pre-Time War Dalek Assault Squad. Thanks to heavy Dalek casualties in the Dalek War, it was not long before the survivors admitted to the Asylum were wiped out. This custom was created using pieces from various New Series Daleks that had been cut up for other customs, and as such a new paint job was needed to make all the pieces seem like part of the same Dalek. The inside computer parts were taken from a few old electronic devices and the whole thing was assembled using hot glue and tissue paper held together with wires.

Dead Asylum Inmate

The battles that take place within the Asylum are not always firefights – in order to conserve power, many Daleks have resorted to close-quarters combat using makeshift weapons that have been cobbled together. Though these Savage Daleks form only a loose alliance rather than an ideological faction, they are among the most deranged and deadly of the Asylum inmates. This particular inmate was a victim of a Savage Dalek attack during which they cut out many of the front plates as well as both weapons, causing the casing to shut down and the mutant inside to drown in its life support fluids. This custom was made using a hacksaw and heavy duty wire cutters, and the internal frame was constructed from plastic and painted with Citadel paints.

Next – New Series Dalek Customs Collection Tour – Savage Dalek Asylum Customs


New Series Dalek Customs Collection Tour – Intensive Care Asylum Daleks Part 2

Welcome to the next instalment in this series of Dalek customs showcases, a tour through my collection of custom-made New Series Daleks that have been altered and painted to appear destroyed, with some marked with stamps for the Dalek Asylum. Continuing from Part 1, these are the next set of ‘intensive care’ Dalek customs. These are based on the Daleks that appeared in the special ward of the Dalek Asylum who are all survivors of particular encounters with the Doctor. All of these customs are made by me unless stated otherwise in the description.

Open Emperor Guard Dalek

This custom was created using a previous attempt at an insane Dalek Caan custom, with the mutant removed and replaced with a custom green mutant made using hot glue and a plastic claw. This Dalek is intended to represent one of the Dalek Emperor’s Human-Dalek Hybrids, specifically one of the Emperor’s Guards that somehow managed to survive the events of The Parting of the Ways and has ended up in the depths of the Dalek Asylum. As the last of the Emperor’s Human-Daleks, this specimen is quite insane, and the repair drones dare not approach for fear of being sliced in half by this Dalek’s vicious metal claw. The weathering on this Dalek was done using drybrushing and as the base model was already burnt the pieces are warped and malformed as if the casing has melted due to extreme temperatures.

Ongoing Maintenance Dalek

Not all Daleks in the Asylum were admitted for insanity – some are cast into the dark chambers of the facility for simply malfunctioning. This Dalek contracted some form of computer virus during an encounter with the Doctor and its casing’s self-repair systems have shut down, meaning the Asylum’s drones must continuously repair the Dalek’s systems as the virus works to take them down in an endless battle between two continually adapting programs. All the while this Dalek waits patiently for the balance to tip in its favour, as more than anything it wants revenge against the Doctor. The plastic and wires of this custom’s frame were taken from an old radio and stuck together using hot glue. The paint detailing is Citadel paints applied using a dry brush.

‘Steampunk’ Dalek Commander

Some of the Daleks in the intensive care ward were damaged within the Asylum itself – this former Dalek Commander was admitted to the Asylum during the Time War after an incident involving the Doctor and an electro-magnetic pulse. Since the ‘accident’, the Commander has conducted many botched repairs on itself in an attempt to remove its dependence on electronic components and has replaced many of them with cobbled-together clockwork and steam-powered devices constructing using re-programmed self-repair drones. Regarded as an eccentric by the other inmates of the Asylum, this Dalek is generally avoided by the more lucid Asylum denizens, This custom includes parts from an old CD drive as well as wires and pieces taken from an old radio. Promarker pen was used for the weathering and detail on the various cogs and other pieces.

Asylum Supreme Dalek

Having been updated since its appearance in the New Series Dalek Supremes Collection Tour, this Supreme Dalek now resides within the Asylum and has become the ringleader of a desperate faction of Daleks from various time periods who have allied together for protection. Using its old command codes, this Dalek is capable of interfacing directly with the Asylum’s central mainframe, giving it a unique insight into the Asylum’s Labyrinthine layout that makes it a vital asset for the various competing factions within the Asylum.

Next – New Series Dalek Customs Collection Tour – Even More Destroyed Daleks


New Series Dalek Customs Collection Tour – Intensive Care Asylum Daleks Part 1

Welcome to the next instalment in this series of Dalek customs showcases, a tour through my collection of custom-made New Series Daleks that have been altered and painted to appear destroyed, with some marked with stamps for the Dalek Asylum. The previous instalment featured some odd additions to my customs collection that didn’t really fit anywhere else, but now we must delve back into the depths of the Dalek Asylum to take a look at some ‘intensive care’ Dalek customs. These are based on the Daleks that appeared in the special ward of the Dalek Asylum who are all survivors of particular encounters with the Doctor. All of these customs are made by me unless stated otherwise in the description.

Damaged Life Support Dalek

This Dalek went insane due in part to the horrors it witnessed in the Time War, both by the Daleks themselves in their genocidal campaign against the universe but also thanks to equally vicious atrocities that the Time Lords committed against the Daleks themselves. This custom was created using a mutant reveal Dalek mutant placed on top of an overturned plastic flowerpot, of all things, that was attached to the base before the damaged casing was constructed around it. The wires and computer parts were salvaged from various pieces of old equipment like radios and motherboards, and the plastic frame came from a Warhammer set. The paints used for all of the customs featured here is Citadel paints, and the drybrushing was done with an old model painting brush. The detailing on the mutant was done with Promarker pen, and pieces of plastic and hot glue were used to construct a new eyestalk.

Straight-jacket Dalek

This Dalek was based on the Dalek seen during the intensive care scenes in Asylum of the Daleks that breaks free of its chains but has no weaponry with which to attack the Doctor. Since the Asylum automated precautions made a point of removing this particular Dalek’s weapon, it would stand to reason that this particular inmate was even more deranged than its peers, and so for this custom wires were used to create a sort of Dalek straight jacket, designed to imply that this Dalek is being kept restrained for the safety of other Asylum inmates. Silver spray paint was used to give this Dalek a weathered look, and the wires have been painted silver to resemble metal. As with many Asylum customs, a fake eyestalk was needed and this one was constructed using the inside of a ballpoint pen and hot glue.

External Life Support Dalek

This Dalek has clearly suffered from some kind of internal damage or fault, and the Asylum’s automated systems have responded by constructing a life support system around the Dalek’s casing to keep it alive. Although the base figure used for this custom is that of Dalek Sec, this could be any Time War era Dalek commander as many of these Black Daleks were seen in the Asylum during Asylum of the Daleks. The frame was constructed using pieces from a Warhammer figure frame cut using heavy duty wire cutters and held in place with hot glue. With silver and green paint added, the plastic frame looks convincingly metal and the glue serves as leaking Dalek fluids. The front panel is held in place by a structure built inside the Dalek casing using the plastic case of an old plug and some more Warhammer frames.

Open and Empty Dalek

This Dalek casing’s colour scheme indicates it may have once contained a particularly high-ranking Dalek, but after it was admitted to the Asylum and its casing opened for maintenance, the mutant escaped and now prowls around the depths of the dark facility. In the meantime, this abandoned casing gathers dust in the intensive care ward, ignored by the repair drones and essentially left to rot. This custom was created by sawing the two individual halves of the Dalek figure in half and gluing them back together as separate pieces, whilst also sawing the front panel in half and building a frame out of plastic pieces to hold it all together. The wires and computer parts represent the internal workings of the Dalek casing that have corroded over time.

Next – New Series Dalek Customs Collection Tour – Intensive Care Asylum Daleks Part 2



Doctor Who – Arachnids in the UK – Series 11 Episode 4 Review

Arachnophobes beware, as last Sunday’s Doctor Who definitely lived up to the Halloween season hype with a nail-biting runaround that, for many, brought the fear factor back to Doctor Who. Whilst Arachnids in the UK was far from the scariest episode in the show’s recent history, it certainly provides some welcome scares and genuinely creepy moments that prove the show is still willing to tackle the horror side of sci-fi.

Longtime fans were intrigued by the premise of this episode, as this is not the first time that giant spiders have appeared on the show – in fact, Third Doctor Jon Pertwee actually regenerated following an encounter with some insidious alien arachnids from Metebelis III in 1974’s Planet of the Spiders, so it would make sense if the Doctor to be a little squeamish around them. However, Arachnids in the UK takes a completely different approach to a similar idea as the spiders are common house spiders that have mutated rather than extraterrestrial invaders, which is a nice twist.

Once again, Jodie Whittaker steals the show and her character of the Thirteenth Doctor has been firmly well-established. It is amazing how soon she has found her feet in the role as the Doctor, and she has already solidified many of the details of her character from the Tennant-esque technobabble to the way she flourishes her sonic. Not only that, but the writing has given the Thirteenth Doctor a consistent character throughout her opening episodes, an improvement over the Twelfth Doctor’s introduction in which Peter Capaldi’s masterful grasp of the character was undermined by inconsistent writing.

Another marked improvement in this series over the previous Moffat-era stories is the heart, as whilst Series 10 had some great moments with characters like Missy and Bill, Series 11 has already a more compelling character in Graham than the Moffat era had with a companion like Clara. The simple approach to character development is always the way to go on Doctor Who, and the down-to-earth nature of the new companions is far more relatable than Moffat’s Mary Sues who were ‘born to save the Doctor’. Hopefully the show can learn from its mistakes and maintain the ‘regular’ kind of companion as these are far more effective.

The supporting cast in this episode are also strong, with Chris North’s character filling the role of merciless businessman that has become a staple of many Earth-based Doctor Who episodes, and Yaz’s Mum Najia played by Shobna Gulati proves a good foil for his stubborn and detached personality. The ending of this story is distinctly bleak, but has an uplifting turn at the end with the final scene in the TARDIS showing the team reunited for more adventures.

So although Giant Spiders may be a somewhat of a recycled plot idea for Doctor Who at this point, Arachnids in the UK somehow makes it feel fresh and is another strong instalment of Thirteen’s debut series.

Read More

Doctor Who – Rosa – Series 11 Episode 3 Review

Now firmly established in its Sunday night slot, Doctor Who delivered yet another fantastic episode that had fans old and new stunned. Although the show has always been inherently political, as most science fiction is, rarely does it tackle politically charged historical moments head-on like it has done in this episode. With high stakes and nail-biting tension running throughout, this episode proves that Doctor Who can tackle these sorts of issues while still providing a great story and quality Sunday night entertainment. It has to be said, however, that this episode is not for the faint-hearted. It does not pull its punches. In fact, it might well be the most heavy-hitting episodes of Doctor Who in terms of real-life social issues in recent memory.

Before getting into the main story, Although it goes without saying at this point, Jodie Whittaker’s Thirteenth Doctor is absolutely fantastic, as always. She can perfectly balance the wit, wisdom and empathy that the Doctor embodies with her own high energy and enthusiasm. This episode gives us our first look at this particular Doctor’s darker side, however – the scenes between her and the main villain, Krasko, are perhaps some of the best character moments for her Doctor so far. We are treated to some more lighthearted moments with Thirteen, which are always welcome – and there are some great little tidbits that veteran fans will appreciate. Likewise, Graham brings a lot of heart to this episode and although Bradley Walsh often brings some lighthearted comic relief to the series, here he demonstrates his ability to play the companion role straight, and he is well on his way to becoming a fan favourite.

The rest of the TARDIS team are also on point in this story, and for the first time we see some real character development for the younger two of the group as they grapple with the intense and heavy-hitting racism that infests 1955 Alabama. Ryan, in particular, is targeted several times throughout the story and there are some scenes – and dialogue – that would not seem out of place in a production of Harper Lee’s To Kill A Mockingbird as we see the uncomfortable but entirely necessary depiction of just how awfully black people were treated on a daily basis in this time period. Some of the more poignant moments in the story come when Ryan and Yaz talk about the situation as two 21st century youths experiencing segregation first-hand.

Speaking of which, the main bulk of the episode – dubbed ‘Operation: Rosa Parks’ by the Doctor – is to ensure that history plays out despite the intervention of a time-travelling racist from the future. Although it sounds ludicrous, the writers handle this situation with all due respect and dignity, and co-writers Chris Chibnall and Malorie Blackman have definitely made a fantastic contribution to Doctor Who’s already formidable array of excellent historical stories. The acting in this episode is also great – Vinette Robinson steals the show as Rosa Parks with a compelling performance, and her final scenes left many fans in tears.

Doctor Who is, and will hopefully forever remain, a show that will tackle important political and social issues head-on. Only last series, Peter Capaldi’s Twelfth Doctor punched an industrialist after he told black companion Bill to “stand in the presence of her betters”, and the Doctor’s attitude towards the sickening racism that pollutes human history has definitely been reemphasised in this new incarnation. Both the Doctor and the show itself should always be at the forefront of tackling injustices throughout time and space, and Rosa shows just how emotive and moving this kind of storytelling can be.

Read More


Doctor Who – The Ghost Monument – Series 11 Episode 2 Review

Jodie Whittaker’s second episode as the Thirteenth Doctor, The Ghost Monument, proves that now is an exciting time to be a Doctor Who fan. In many ways this episode put back all the leftover pieces that were not included in the debut episode, not least being the new title sequence. As the first thing you see in this episode, the fantastic fluidic effects coupled with the haunting new theme that harks back to the show’s earliest days makes the new series’ opening titles look unique and fresh. With some great characters, an interesting and fast-paced story, some great character moments and a special surprise at the end, the new title sequence isn’t the only exciting thing about Series 11’s second episode.

The most eye-catching thing about this episode is the setting – an inhospitable world filled with deserts, toxic lakes and crumbling ruins, the kind of setting that Doctor Who was made for. Fans might draw some similarities between this planet and Skaro, the first alien planet that was visited in Classic Who way back in 1963, and that may have been intentional – this series represents a whole new journey for the Doctor and so it is fitting that The Ghost Monument presents a return to form for Doctor Who – the characters are stranded on an alien planet, with no TARDIS and no idea how to get home, and the mystery kicks off from there. The plot of this episode is based around the heroes trying to reach the eponymous ‘Ghost Monument’, and although the premise itself seems simplistic, the episode is carried by interesting new characters and the building of the team dynamic between the Doctor and her three companions.

The Doctor herself is once again fantastic, and Jodie Whittaker gets to firmly establish her role as both the leader and backbone of the team, as she quickly asserts her authority over the new characters that the team encounter. The new Doctor also reiterates the view of many of her previous incarnations in her dislike of guns and violence, and shows her softer side when providing emotional support for Ryan. Speaking of Ryan, a few interesting scenes with him show that part of his character development may revolve around growing to trust the Doctor and Graham as surrogate parental figures, as he and Graham find more common ground between them and the Doctor demonstrates her ability to help Ryan in situations where his dyspraxia limits his confidence to act – like when climbing a ladder in a tense situation. Early signs of good character development early on are a great sign, and hopefully Yaz will get similar moments in later episodes.

In what is quite a character-focused episode, it is good that guest stars Shaun Dooley, Susan Lynch and Art Malik do such a great job in their respective roles. Dooley and Lynch in particular play a pair of highly driven intergalactic relay racers who are also trying to reach the ‘Ghost Monument’, and their stories and how they learn to work together with the Doctor is one of the episode’s most compelling aspects. The episode also features some well-designed monsters – from robot sentinels to spooky living fabrics that throttle people in their sleep – and although they are not as visually impressive as Tim Shaw was in the previous episode, the monsters in this story play more of a minor role as the primary focus is the journey.

And finally, arguably the episode’s most exciting moment comes with the return of the TARDIS. After dumping the newly regenerated Doctor in the skies above Sheffield before inexplicably vanishing, the TARDIS has been absent from Series 11 so far – until now. Following the Twelfth Doctor’s explosive regeneration, the interior of the TARDIS was almost completed destroyed, and as such we now have a completely remodelled interior and exterior of the TARDIS for the first time since 2013. Whilst fans will have to made up their own minds over where this TARDIS interior ranks relative to its predecessors, needless to say it stays true to the basics of the design and is definitely more suited to the character of the Thirteenth Doctor than Capaldi’s TARDIS would have been, as good as it was.  Overall, The Ghost Monument is another successful outing for the new Doctor and, with over seven million people tuning in to watch, it proves that Doctor Who is back and is as popular as ever.

Read More



Doctor Who – The Problem with the Present Day

For a show like Doctor Who, there is no such thing as the ‘present day’. Since the Doctor can travel anywhere in time and space, episodes can be set far back in time before the human race even evolved or as far into the future as the end of the universe. But throughout its 55-year history, Doctor Who has often grounded itself to the then-present day of the time – 60s Who considered the 60s to be its ‘present day’, 70s Who portrayed a strange alternate 1970s (or 1980s, depending on who you ask) as its ‘present day’, and modern Who has usually stuck to whatever year the series happens to be airing in, with a few exceptions. Generally, when the TARDIS lands in the ‘present day’, one can assume that this means whatever year the episode happened to be broadcast in. But for a show like Doctor Who with its complex continuity, this can lead to some problems.

For a start, when the Doctor battles aliens on present-day Earth, generally Classic Who tended to keep these incursions low-key, so as to not break the immersion that Doctor Who could be happening in ‘our universe’, i.e. the real world. But with NuWho came Russell T. Davies, and with Russell T. Davies came some particularly bombastic episodes  involving very public alien invasions. Episodes like Rose, Aliens of London, The Christmas Invasion, Doomsday, The Runaway Bride, The Sontaran Stratagem and The Stolen Earth/Journey’s End all involve the existence of aliens being continually and unequivocally revealed to the people of Earth. This was all well and good for Russell’s era, which actually made somewhat of a recurring joke out of the fact that everyone knows that aliens are real – to the extent that London is evacuated on Christmas Day to avoid the inevitable alien invasion – but the problem took shape after Steven Moffat took over and realised that the ‘present day’ continuity of Doctor Who had been irreversibly ruined.

A good analogy for this situation can actually be found in the world of British Politics, of all things. Part of the rule of Parliamentary Sovereignty is that ‘no Parliament can bind its successors’, essentially the idea that it is unlawful for a current government to create a law or an institution that any subsequent governments are unable to remove. This is done so that every new government that comes into power has complete free reign over how it wants to rule the country – essentially, it allows for change when change is necessary. The same logic should apply to Doctor Who – because the show can essentially keep creating original stories forever, there should be as few restrictions as possible on what can be done. Unfortunately, the ‘Present Day Problem’ has created some continuity errors in the new series that extent as far into the show’s run as the most recent episode, The Woman Who Fell To Earth – Graham and his friends insist that aliens can’t be real, because that is what a normal person in the real world would say. But Russell T. Davies’ era of the show proved that Doctor Who doesn’t take place in the real world, because in the real world there certainly wasn’t a Dalek invasion in 2009 or a Cyberman invasion in 2006. But, if Graham and his friends exist in the Doctor Who universe, why can’t they remember the highly publicised incursions that took place just a decade prior?

doctor who big ben
“I’ll be sure to forget this by next year!”

And Graham isn’t the only one. Moffat initially flirted with the idea of making it so that the cracks in time that appeared throughout the Eleventh Doctor’s tenure had actually erased all of Russell’s alien invasions from history, but later backpedaled to claim that Amy forgot about them but the general public didn’t, as seen in Death in Heaven when a news reporter compares the Cybermen seen in that episode with the ones previously seen during the Russell years. It would seem, then, that there is no right or wrong answer, and the ‘timey-wimey’ nature of the show’s continuity means that maybe some people remember the invasions and some people don’t. In fact, it would actually be quite an interesting idea for an episode if there are still droves of people in the UK who insist that Daleks and Cybermen invaded, and others – perhaps even people who had lost family or friends to those invasions – have subsequently forgotten all about them. This creates a sort of in-universe ‘Mandela effect’, in that history is different for some than it is for others.

All that aside, however, the ‘Present Day Problem’ remains – how can any future showrunners maintain the air of mystery and shock for other characters discovering alien life if things like the Daleks and the Cybermen are common knowledge? There are a few potential answers to this problem:

1 – Ignore the problem

The first, and most boring, solution – and apparently the one that Steven Moffat went with – is simply to have new companions and characters be ignorant of aliens despite almost everyone else on the planet being aware of them. This has been done before by narrative means – as previously mentioned, Amy Pond forgot about the Daleks because the cracks in time erased her memory, and Russell himself actually used this for Donna as well, claiming she had ‘slept through’ all the previous invasions. Needless to say, simply ignoring the problem is boring and any excuses that can be dreamed up to wave it away are flimsy at best.

2 – Write the episodes around the problem

Doctor Who, particularly the modern era, has historically set many episodes in the present day as a means of making the show more accessible. On paper, this seems to make sense – particularly when it comes to series openers. However, give it some thought and it quickly becomes apparent that there is little logic to this. The only possible explanation for wanting to have most of the episodes in a series set in the present day is if the writer wanted to rely heavily on pop culture references and memes, something that both Russell and Moffat were continuously guilty of, and as a result this dates their eras immensely. Part of the reason why episodes like The Ark in Space and The Caves of Androzani are described as ‘timeless classics’ is because the draw absolutely no material from the then-present day and use the show’s potential of far-reaching settings to its advantage. This would be particularly good for writing large-scale alien invasion stories – episodes like The Dalek Invasion of Earth in 1964 and The Parting of the Ways in 2005 can portray invasions on an epic scale set far into the future and be just as effective as an episode set in the present day.

3 – Have a wider range of companions

Drawing from the previous point, having a wider range of companions would definitely create a workaround for the problem, as having less companions from the present day would not only make the show more diverse and interesting but would also reduce the need for having episodes set in the present day. Why bother trying to write a workaround for why a character in 2025 can’t remember the Slitheen invasion of 2006 when you could just have a companion from the past, or from a human colony in the future, or have one who is not even human at all. In terms of accessibility, shows like Downtown Abbey, Star Trek, Friends and Game of Thrones are all set in different times and sometimes different universes, with no ‘present day’ characters needed to ground the audience – if a character is written well and is relatable, that is all the grounding that is needed for the audience. You don’t see anyone in Star Trek dabbing, because you don’t need to throw pop culture or social media references into a script to make it accessible, you just need to write a good script.

Read More