Tech, emailconfirmed, Administrators
153,292
edits
More actions
→Plot
No edit summary |
(→Plot) |
||
| Line 27: | Line 27: | ||
[[London]], [[1599]]. A young woman is serenaded from her balcony by a [[lute]]-playing suitor, Wiggins. She bids him enter the house, but to his shock he finds it full of [[witchcraft|witching]] artifacts. The woman, [[Lilith]], kisses Wiggins — but, on pulling away, he finds her transformed into a wrinkled hag. She introduces her two "mothers", [[Doomfinger|Mother Doomfinger]] and [[Bloodtide (Carrionite)|Mother Bloodtide]], who appear, cackling, and lunge at the screaming youth, apparently devouring him. | [[London]], [[1599]]. A young woman is serenaded from her balcony by a [[lute]]-playing suitor, Wiggins. She bids him enter the house, but to his shock he finds it full of [[witchcraft|witching]] artifacts. The woman, [[Lilith]], kisses Wiggins — but, on pulling away, he finds her transformed into a wrinkled hag. She introduces her two "mothers", [[Doomfinger|Mother Doomfinger]] and [[Bloodtide (Carrionite)|Mother Bloodtide]], who appear, cackling, and lunge at the screaming youth, apparently devouring him. | ||
Meanwhile, the TARDIS has just landed nearby. [[Martha Jones|Martha]] questions whether it is safe to walk around in the past, citing such familiar time travel concepts as the [[Temporal paradox|Grandfather paradox]] and a reference to the Ray Bradbury short story "A Sound of Thunder". The Doctor reassures her.She also worries about her reception as a black woman in a time when slavery still exists. The Doctor tells her not to worry, he isn't even human. He declares that they have arrived in London in 1599 and takes her to a performance at the [[Globe Theatre]]. At the end of the play, ''[[Love's | Meanwhile, the TARDIS has just landed nearby. [[Martha Jones|Martha]] questions whether it is safe to walk around in the past, citing such familiar time travel concepts as the [[Temporal paradox|Grandfather paradox]] and a reference to the Ray Bradbury short story "A Sound of Thunder". The Doctor reassures her.She also worries about her reception as a black woman in a time when slavery still exists. The Doctor tells her not to worry, he isn't even human. He declares that they have arrived in London in 1599 and takes her to a performance at the [[Globe Theatre]]. At the end of the play, ''[[Love's Labour's Lost]]'', Shakespeare announces that there will soon be a sequel called ''[[Love's Labour's Won]]''. Lilith, using a poppet, influences Shakespeare to declare, rashly, that the new play will premiere the following evening. Martha asks why she has never heard of ''Love's Labours Won''. The Doctor knows of the lost play and, curious, decides to find out more about why it was never published — and extends Martha's "one trip". | ||
The two go to The Elephant, the inn where William Shakespeare is staying. They chat with the playwright, who intends to finish writing the final scene of ''Love Labour's Won'' that night. An instantly beguiled Shakespeare ("Hey nonny ''nonny!''") tries to woo Martha, describing her as "a queen of [[Africa|Afric]]" or a "Blackamoor lady", which she finds slightly offensive. The Doctor claims she comes from "Freedonia" to explain her strange clothing and modern attitudes. Shakespeare sees past the Doctor's psychic paper, which the Doctor cites as proof of the man's genius. | The two go to The Elephant, the inn where William Shakespeare is staying. They chat with the playwright, who intends to finish writing the final scene of ''Love Labour's Won'' that night. An instantly beguiled Shakespeare ("Hey nonny ''nonny!''") tries to woo Martha, describing her as "a queen of [[Africa|Afric]]" or a "Blackamoor lady", which she finds slightly offensive. The Doctor claims she comes from "Freedonia" to explain her strange clothing and modern attitudes. Shakespeare sees past the Doctor's psychic paper, which the Doctor cites as proof of the man's genius. | ||