What do monsters have nightmares about?

She's obviously mad. She's got the disappointed mom voice in Full Effect, the one that makes you wanna go "hey I gotta go be. Anywhere else. Where you're not looking at me." From her perspective, this SecUnit's voiced that it doesn't particularly care that the others are in danger, it's dumped helpful data to make room for trash TV, slacking on its job and now endangering everyone's lives. She's understandably furious.

I don't think the episode of Sanctuary Moon calmed her down. I think the realization that Murderbot was doing its best, for her, surprised her enough to shake her out of it.

I mean, first of all, it starts singing the theme song. We've already established this is weird enough to make a combat SecUnit stop and go "what the fuck," and Mensah definitely has the same reaction. She's upset because to her, this is just SecUnit caring more about its shows than about the team again. But then it's picked a "calming episode." More than that, it's picked one specifically to help her current issue. It's breathing along with the show. She's watching, in real time, how it uses this trash TV show to better understand humans, and is now trying to use it to help her, specifically, with her exact needs, right now.

• It all starts, as it will end, with a garden •

Behind the Scenes of Army of Ghosts/Doomsday (Part 20)  

Excerpt from SFX (Sept 2014 when “The Doctor and Rose say farewell at Bad Wolf Bay in Doomsday” won 1st place in their 250 Greatest Moments in Sci-Fi, Horror, and Fantasy poll to celebrate their 250th issue):

SFX:  Revisionists would have you believe that Who was always a show with emotional impact, but barring a couple of companion departures that didn’t really become true until Russell T Davies.  His most heart-destroying contribution was this scene, in which a holographic projection of the Doctor talks to a tearful Rose on a Norwegian beach (actually Southerndown, South Wales), with the signal cutting out just before the slow-coach can declare, “I love you”.  It’s a moment everyone can identify with because, as Davies put it, “There’s an echo of every loss you’ve ever had.” We’ve all had to bid farewell to someone we care about even if it wasn’t forced upon us by the threat of universal destruction and this moment perfectly encapulates the agony of break-up.

Russell T Davies:  Thank you!  I’m not often speechless, but that’s quite astonishing. All I can remember about that day is everyone rushing like mad to get it finished because the tide was coming in.  Camille Coduri had to stand on wooden planks in case she sank.  But what a cast - David and Billie are simply magnificent.  All directed with joy, energy, and madness by Graeme Harper. I’m genuinely surprised that it means that much to people, after all this time, and thank you to everyone who voted.

David Tennant:  I remember worrying on the day we shot this that as I was actually a projection from inside the TARDIS my hair shouldn’t be blowing in the wind.  That seemed terribly important at the time and although we didn’t find a solution to it, it bothered me for weeks.  Then I saw the finished scene and of course all that matters is the end of the Doctor and Rose’s story.  Russell had weaved some glorious magic for two seasons and it all came together so perfectly in this scene that people still talk to me about it with misty eyes all these years later (and I suspect they always will.)  Murray Gold created some heart-stopping music that accentuates the misery and Billie is just breathtakingly good.  I feel very lucky to be standing on that beach, with my hair flying around, in amongst all these brilliant elements.  Whatever else I do and wherever else I end up, this will be a moment I will forever be proud to look back on.  Thanks for having us at number one.

TOASTED