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82 Seconds of History: Saudi Arabia's First Female Olympian Competes to Criticism and Acclaim
- Kristin Wright Open Doors USA
- 2012 7 Aug
On August 3, 2012, Wojdan Shaherkani became the first Saudi woman to compete in the Olympics, igniting a firestorm of controversy over hijabs and headgear, not to mention ability and experience. Her first and only match lasted 82 seconds before she was soundly defeated by Puerto Rican opponent Melissa Mojica.
In a nation where women are routinely denied the most basic of rights, one can only imagine the struggle faced by female athletes. In Saudi Arabia women are not permitted to participate in sports of any kind, to attend PE classes at school or even to be present as spectators at a game. Naturally, the chances of Saudi women competing in the Olympics have always been slim. But this year, with the International Olympic Committee threatening to ban all Saudi athletes if women were not included in the team, Saudi Arabia began to cave.
After years of refusing to field female athletes, the strict Islamic country succumbed to international pressure and began a last-minute national search for Olympic-level athletes – ultimately discovering of course, that due to the fact that women are forbidden from competing in sports, they had none to offer.
Enter Wojdan Shaherkani. Trained privately by her father in judo, the 16-year-old girl had attained a blue belt in the sport – rendering her not one but two levels beneath her Olympic counterparts. Three weeks ahead of the Olympics, she was contacted and asked to represent her country. Shaherkani agreed to attend along with her father, who also acts as her trainer, and to compete as the first Saudi woman in the Olympics. Sarah Attar, an 800-meter runner who was born and raised in California, was the only other woman representing Saudi Arabia.
Neither Shaherkani or Attar were qualified to compete at an Olympic level, but entered their competitions under a clause that enables less-than-qualified athletes to compete in the name of broadening international participation.
For Shaherkani, however, getting cleared to compete proved to be another problem altogether. Shaherkani's Muslim faith requires her to wear the hijab all the time, even while participating in judo. But the International Judo Federation informed her that wearing a head scarf during the match was unacceptable. The conflict stretched past the opening ceremony, during which Shaherkani and Attar walked behind the men representing Saudi Arabia – with Shaherkani still uncertain if she would be allowed to compete at all. "I need my daughter to play," Shaherkani's father told reporters. "We are hoping to make new history for Saudi's women."
The hijab controversy was ultimately solved when the International Judo Committee and the International Olympic Committee were able to strike a "good balance between safety and cultural considerations," according to their statement, with a form of headgear that appeared to be a safer alternative to the more constricting hijab.
Critics questioned from the start whether Shaherkani should be allowed to compete at the Olympic level, citing her lack of experience compared to other entrants in the field. And on Friday, Shaherkani herself appeared nervous as she approached the mat, adjusting her head covering as she eyed her opponent. Her first and only match, against Puerto Rico's Melissa Mojica, lasted only a minute and 22 seconds.
The 16-year-old appeared stunned, and unsure of her next move. She was directed to bow toward her opponent, and afterward hurried back to her father, bursting into tears. "I was disturbed and afraid at the beginning," she explained later. "It was my first time in a big competition and there was a lot of pressure because of the hijab issue. I was not comfortable because I didn't have any experience of big events. It took its toll on me."
Although she was defeated, it was clear that Wojdan Shaherkani felt some pride in being the first woman to represent Saudi Arabia in the Olympics. Given the challenges facing women in the hardline Islamic nation, her mere appearance was perceived by many – including Shaherkani herself – as a victory.
"I'm excited and proud to be representing my country," she said later. "Unfortunately I lost, but I'll do better next time."
Saudi Arabia is one of the world's most restrictive Islamic countries – a place where women are forbidden from driving, not to mention participating in sports of any kind. And while around the world the women's presence at the games was largely praised as a leap forward, back home in Saudi Arabia was a different scene entirely. A Twitter hashtag referring to Attar and Shaherkani as "prostitutes" for entering the Olympic games gained popularity among hardline Islamists.
Other critics said that Shaherkani's rushed Olympic debut hardly makes a difference for women's rights on a day to day basis. For Aziza al-Yousef, a leader in calling for a woman's right to drive in Saudi Arabia, says that Shaherkani's appearance at the games doesn't prove anything. "We've been asking for girls to play sports in school for years," she said. "Here they give Saudi women a spot in the Olympics, but not the right to earn a place on the team. This doesn't add anything, and it won't change anything."
But for Shaherkani herself, the 82 seconds of her Olympic match were worth the struggle. "I am very excited, and it was the opportunity of a lifetime," she said. "Certainly the Saudi judo federation are delighted that I've been able to come here. Hopefully this will be the start of bigger participation for other sports also. Hopefully this is the beginning of a new era."
Kristin Wright is a columnist and contributing writer at ReligionToday.com, where she focuses on global human rights and religious freedom issues. Kristin has covered topics such as bride trafficking in North Korea, honor killings in Pakistan, the persecution of members of minority faiths in Iran, and the plight of Syrian refugees. She has visited with religious minorities in Pakistan, worked with children at risk in Mumbai's "Red Light" district, and interviewed individuals on both sides of the Israeli-Palestinian conflict. Kristin can be contacted via her website at kristinwright.net or email at firstname.lastname@example.com.
Publication date: August 7, 2012


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December 20, 2013
The Chuck Wielgus Blog: A Bit of History About the Duel in the Pool
A group of 34 U.S. swimmers are currently in Glasgow, Scotland
getting ready to compete at the 6th Mutual of Omaha Duel in the
Pool. The event will be held December 20-21 and will be
televised on NBC on December 22 from 4:00 to 6:00 pm. This
edition of the Duel in the Pool will feature Team USA vs. European
All-Stars from 15 countries, and it is shaping up to be a highly
competitive meet.
The history behind this meet goes back to the 1999 Pan Pacific Championships held in Sydney, Australia. Many swimming people still consider that meet as one of the greatest competitions of the modern era. While there were more than 20 countries represented, the meet virtually turned into a head-to-head competition between the U.S. and Australia, the sport's two acknowledged super powers at that time.
With Ian Thorpe and Grant Hackett leading the charge, the Aussies were on a mission to take the "#1 in the World" title away from the U.S. at the 2000 Sydney Olympic Games, and the 1999 Pan Pacs was the perfect set-up meet.
The team title at Pan Pacs came down to the final event on the final day of the four-day competition. The U.S. won that final medley relay to win the overall team title for the meet, but the Aussies had sent a clear message that 2000 would be their year.
That Pan Pac meet showed the Aussies what U.S. college swimmers already knew; there's nothing more exciting in swimming than a great dual meet. And so it was then that we set out to create a dual meet that would feature the U.S. vs. Australia. We envisioned that this meet could become something of a signature event for our sport and a great television property.
The inaugural Mutual of Omaha Duel in the Pool was held in 2003 in Indianapolis. The event was a great success in every sense – NBA-style athlete introductions, sellout crowd, NBC television broadcast, etc. – except the competition was a blowout. The two-day dual meet format is great for spectators and is also an exciting way to get sports fans, who might not normally follow a seven-day swimming meet, interested in our sport.
We began holding the competition every two years – the 2005 meet was in Irvine, Calif., and the 2007 event was in Sydney following the World Championships in Australia that year.
For the 2009 Duel in the Pool, we decided to change the format to be USA vs. a team of European All-Stars, mirroring a Ryder Cup style concept for the sport of swimming. USA Swimming and British Swimming worked together to host the 2009 event in Manchester, Great Britain and the 2011 Duel in the Pool held in Atlanta, Ga.
Throughout the years, Mutual of Omaha has been an outstanding partner and the reality is that we simply could not stage or televise the meet without its support. We'll wait until after this year's event in Glasgow to determine what will be best for the future of the event. My own hope is that we can continue to increase the competitive atmosphere around the Duel in the Pool and that we can also find a way to bring the event back to U.S. in 2015.
Chuck Wielgus can be contacted at firstname.lastname@example.com. All of his blogs are archived at www.usaswimming.org: click on "News" and then click on "Org News & Blogs".

subset: commoncrawl


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Yay! I cheered when I read this article because, man, is it what a lot of us need to hear. Everyone has the capacity to make something other people can benefit from, to make someone's day better and encourage other people.
Also, I now need a stack of Wonder Woman panties and to share this article and a pair of those panties with everyone I know.


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Intel Core 2 Duo E7200 Review
The 45nm Intel Core 2 processors have been a godsend to overclocking enthusiasts. Many of these CPUs are providing big time overclocks that can be used day in and day out to increase your gaming performance or just your general computing tasks. The recently released E8600 has been breaking overclocking records left and right, currently the highest I have seen is just over 6.5GHz; of course, that's under some extreme cooling provided by liquid nitrogen. Having looked at a series of dual core as well as quad core CPUs that include the E8400 and E8500 and have seen the quads from the lowly Q9300 to the mainstream Q9450 all the way to the top of heap with the QX9770, you have to wonder if the E7200 can keep up the tradition of high performance as well as offering massive overclocking ability.
In addition, we saw how the E8400 did in our gaming tests when compared to the quad core CPUs, so my expectation is that the E7200 will follow in its footsteps even if it takes a good overclock to do it considering the lack of L2 cache and lower 2.53GHz clock speed. Let's see just what the E7200 has to offer the performance enthusiast. Will it be just a lower performing dual core or will it show some real muscle?
Closer Look:
The E7200 comes to OCC dressed in the standard Intel retail packaging. The front panel identifies this CPU as a 45nm Intel Core 2 DUo product with 3MB of shared L2 cache. The rear panel offers up warranty information, basic specifications and a motherboard compatibility warning. The cooling solution can be seen through the center of the rear panel and contains a serial number that you will need if you ever do need to use the warranty. So hold on to the stock cooling solution.
The top panel of the retail box shows the E7200. This way you can verify what you are purchasing. Another bonus for the overclocker is to look at the stepping and specific codes on the IHS that may indicate where on the wafer that little bit of silcon comes from. The side panel offers much of the same information and includes a packing date for the product. If steppings and pack dates don't really mean much, it's time to move on.
Once pulled from the box, the inner plastic shell holds the E7200, the heatsink and the information and installation booklet. The CPU is kept away from the heatsink by several different layers of plastic to make sure that there will be no contact during shipping.
The stock heatsink is much slimmer than the heatsink used on the Core 2 Duo 65nm CPUs. The lower voltage used to run the 45nm CPUs make the reduction in size possible. This CPU will run on 1.075 volts, significantly lower than the 1.275 to 1.325 or higher seen on the 65nm CPUs. The fan on the heatsink is controlled dynamically by the motherboard when all of the energy saving features on the motherboard are used. It can be pushed to a constant 100% fan speed if needed though just by adjusting a few settings in the BIOS. The heatsink comes with a pre applied thermal compound that, when compressed, spreads out nicely to make sure there are no gaps in the thermal compound that could lead to overheating.
The E7200 is a 45nm CPU the runs at a clock speed of 266MHz (1066MHz QDR) with a clock multiplier of 9.5 to give a final clock speed of 2.53GHz. The CPU uses 3MB of shared L2 cache and is designed to be used in an LGA775 socket based motherboard. This chip comes with two different spec codes, SLAVN and SLAPC. Both are MO stepping chips rated at 65watts with a thermal design spec of 74.1 degrees Celsius.
So just how well will the E7200 perform with a 500MHz reduction in speed and 3MB less L2 cache than the E8400? Let's find out if this makes a substantial difference in performance.


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I'm still breathing. I'm still writing.
Just not here.
I haven't abandoned this blog altogether. I'm just neglecting it. I figured it will help it build character.
I have whole posts written in my head - but the truth is that I got a little bit tired of making myself out of clay, over and over again. I needed a bit of a break.
I'm not closing this blog. I'll be back someday. But I won't give you an exact date - we all know how well that hasn't worked for me in the past.
Also - and this is top secret, so shhhh - the truth is that I'm nowhere near as neurotic as I portray myself on this blog. So to all of my lovely readers who've emailed me expressing their concern over my prolonged absence, I'm perfectly ok. Promise. I just got...distracted.
Distracted by what? Why, I'm so glad you asked!
I've been preparing for a long journey in March 2014. My dad and I will be walking the Camino de Santiago in Spain together. The 800 km trek will take us about six weeks. So to get ready for that, I've been:
- obsessively creating packing lists. I bought a digital scale to see how much my liner socks weighed. 31 grams, in case you're interested.
- working on losing 30 pounds. Yes, those are the same 30 pounds that I've been working on losing for the past six years. What?
- saving money. Well, not really. Right now I'm keeping busy being unemployed. I'm pretty sure I'll have to find a better way to make money. If there's one thing that I've learned during my stints of unemployment, it's that you generally can make more money when you have an actual job. Who knew, right?
- learning Spanish.
My new blog - which I don't love more than Clay Baboons. I love them equally, but differently. Like how I love my dog and my husband equally but differently - mainly in that I don't let the dog sleep in the bed and I don't pick up my husband's crap. Equal. But different.
I'm enjoying the process of blogging about language learning. It's so radically different from the silly, creative stuff that I do here. I have many more readers there than I ever had here, but almost no interaction with them. Blogging is a very strange thing!
Anyway, thanks for caring and for coming back even when I neglect you. And by "neglect", I actually mean "help you build some character".
I'll be back*. Eventually. I promise.
*Do I even have to mention that this should be read in an Arnold Schwarzenegger voice? No, of course I don't.


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Message Board
Gunter Grass Message Board
Talk about the novels, new and used books that Grass has written!
Author Grass's Book Reviews
Too Far Afield
Two elderly German men, Theo Wuttke and Ludwig Hoftaller, both in their seventies, and who now work for a company set up to privatize the former East Germany, find themselves examining their country's past and present in Gunter Grass' �Too Far Afield.� This is a poignant accounting of their feelings as the Berlin Wall has fallen around them, and it is their jobs to make some sense outof the whole thing. Bizarre, surreal, comic, tragic--this book i...


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Doctor Who: Death to the Daleks (UK - DVD R2)
The Wilson Bros review the final Classic Doctor Who Dalek story out on DVD...
The year was 1974 and Jon Pertwee's tenure as The Doctor was coming to an end; Elisabeth Sladen had slotted into the series rather nicely, but Pertwee's back problems, coupled with a general feeling that the Who family was breaking up (Roger Delgado had tragically been killed, Katy Manning had left and both Terrance Dicks and Barry Letts had decided to leave), meant that it was time to move on. Before Pertwee's Doctor was to have that fateful encounter on Metabelis III, there were still a couple of adventures to be had, including one with his old nemeses...
Following the troubles with dinosaurs and Operation Golden Age, the TARDIS suffers an energy drain mid-flight and The Doctor (Jon Pertwee) and Sarah Jane Smith (Elisabeth Sladen) find themselves on the planet Exxilon, where they discover that an Earth space-vessel containing a group of humans from the Marine Space Corps, have also been stranded by the power drain and they have been waiting for a rescue ship. The Doctor is horrified to eventually discover that the occupants of this other interplanetary (most extraordinary) craft just happen to be Daleks!
Terry Nation penned this story, based upon a suggestion for a storyline by Terrance Dicks; as part of an agreement, Nation was given first refusal on writing a Dalek story when the BBC wanted to produce one and he agreed to pen Death to the Daleks. The concept of having the Daleks without the ability to exterminate is an interesting one, because if you take away their weapons, the Daleks really are just a bunch of hysterical, shouty individuals who seem to repeat things twice. It allows Pertwee's Doctor to have a great moment when he realises that his old adversaries are powerless, in much the same way that Christopher Eccleston would do a similar thing around three decades later in Rob Shearman's wonderful story, Dalek. This was to be the last Doctor Who Dalek story of the original run before Davros was introduced and it depicts them as being more cunning and conniving than ever; their ability to exterminate with conventional weapons being removed by the mysterious power drain makes forces them to think and find a way to carry out their most basic, genocidal function using non-electric weapons. The Doctor mentions that the Daleks are "brilliant technicians" and their ability to think and function independently in this story at times makes you wish that the character of Davros had never been created and that the Daleks could have carried on being this devious and conniving.
The opening scenes featuring the power failure in the TARDIS are wonderfully atmospheric, featuring only an illuminated console and the two leads playing their parts in a most agreeable fashion. This scene shrouded in darkness seems to be a reference to the ongoing energy crisis that was still very much in the public eye at the time (the following story, The Monster of Peladon would use this topical subject at its central theme), but matters are soon alleviated by Pertwee pulling out an antique oil lamp and using that to light their way "Hooray for old-fashioned oil!" exclaims Sladen - if this script had been written by Malcolm Hulke, it would have then had The Doctor launch into a monologue arguing for the need to reduce pollution and explore alternative forms of power.
Michael Briant's atmospheric direction continues as The Doctor and Sarah-Jane venture outside of the TARDIS to see what is causing the power-drain to the ship, with Pertwee leading the way holing the oil lamp and Sladen following behind, whilst the camera tracks them from a high vantage point as they make their way through fog and into a well-timed and well-executed scare. We know that there are many Doctor Who fans who aren't keen on some of the more 'eccentric' elements of the score to Death to the Daleks (more on that later), but the use of music in this scene is nothing short of wonderful and makes you remember just how eerie Doctor Who could be when in the hands of a good director who was suitably engaged with the script.
Though Jon Pertwee was about to depart the role that made the former comedy actor be taken seriously by the public, he still gives a compelling performance as the Third Doctor; a noticeable amount of his enthusiasm for the part had disappeared into the fifth dimension, but seeing as he had bags of it to begin with, the loss of a little of that enthusiasm wasn't such a big deal. The back problems that were getting steadily worse for Pertwee were indirectly evident during Death to the Daleks, mainly in that stuntman Terry Walsh in a bad bouffant wig had to be employed to undertake a pretty straightforward gag that involved The Doctor being wrestled to the ground, which just happened to be soft.
Lis Sladen was settling nicely into her role, giving little glimpses of the playful relationship that she would share with Tom Baker; though many write off the chemistry that Sladen and Pertwee had in favour of the later pairing of Sladen and Baker, there is much to like in the relationship between Sladen and her first Doctor; the dynamics are very different, with a distinct paternal vibe coming from Pertwee, as opposed to the friendly/almost-partners one that was displayed later. This relationship is crystallised during episode three, as The Doctor is about to go off to the forbidden city, facing almost certain death, and tells Sarah that she must stay behind - at the end of the scene, they share a poignant moment where nothing is said, but the performances speak volumes and both actors are tremendously good, with Pertwee running his hand down the side of Sladen's face and she reacts in a manner that suggests they might not see each other again. During episode one, Sladen really excels during the scene where she runs back into the TARDIS to avoid the approaching Exxilons, oblivious to the fact that one of them has already made his way in and is sneaking up behind her as she manually cranks the door shut; after clubbing the poor sod to the floor, Sladen really sells the traumatic nature of the moment, with a palpable and honest depiction of hysteria, so realistic that it stops short of snot trickling out of one of her nostrils. It's more than just a typical screamy companion - she's absolutely distraught and its' a testament to the acting ability of the late Ms Sladen. Later on in the story, Sarah Jane is captured and is prepared for sacrifice by a group of chanting Exxilons who sound like the Welsh Satanic Choir (if you listen, you'd swear that you could hear Roger Delgado in there) and is forced to inhale what appears to be incense - well, if the sacrifice had gone ahead, then at least she'd have died happy, or at least with a pleasing fragrance up her nose...
Of the guest cast, the stand-out member is Duncan Lamont as Weapons Officer Dan Galloway, who has a very imposing physical presence and a heavyweight Scottish accent that seriously conveys that he is someone not to be messed with. Lamont had enjoyed a career in film that included several Hammer films, epics like Ben-Hur and even worked with Alfred Hitchcock in The 39 Steps and the experience of decades of cinematic work experience really translates to the small screen, as the result is a character that is more than just the sum of Terry Nation's words.
Coming in a close second is Arnold Yarrow as Bellal, who gives such an endearing performance that he almost makes you wish that he could have stayed on as a companion. Yarrow's winning performance is due to a combination of several elements - Yarrow's physicality, along with the fact that he studied animals for inspiration and Bellal's little movements of his head are classic animal movements; the costume was also very good (even if his mask - like quite a few of the other Exxilons - didn't quite fit properly) and he couldn't see much out of the mask, so he had to be very timid and cautious with his gait, but the most important thing is that Pertwee seemed to really take a shine to Yarrow and you can see that there is real chemistry between them and Pertwee liked to make his fellow actors look good because it made him look good.
Continuing the theme of Pertwee wanting to look good, he probably wasn't that impressed with a shot that had him with his head down, and a bald patch can quite clearly be seen - perhaps, to quote Terrance Dicks, Pertwee's hair become more and more bouffant as the show went on was because he wanted it to be the equivalent of a comb-over.
Death to the Daleks presents those dastardly despots with a look that was unique to this story, and - in our opinion, anyway - quite possibly the coolest-looking design there has ever been for them. On paper, the black and silver look might seem somewhat clichéd for science-fiction robots, but it works awfully well for the Daleks. It's a pity that when Skaro's antisocial denizens were brought back for Genesis of the Daleks, they opted for a pretty dull colour palette; the silver colour scheme seen here isn't exactly subtle, but they aren't the rainbow-hued monstrosities seen in the Rosenberg/Subotsky films, either. What is interesting is that this is the first time that the Daleks were likened to Earth-based objects in a derogatory fashion on television (OK, they were called "motorised dustbins" in Daleks: Invasion Earth 2150AD, but that was on the big screen), with Weapons Officer Galloway calling them "wee salt-shakers"; the Daleks had been referred to as many things in the press and by the public, but this marked the first time that such comparisons found their way into the show.
Speaking of the Daleks, there were always a limited number of Daleks in each episode of the original series, and various methods were used to multiply their number, but what was different with Death to the Daleks was that there were more Daleks than there were Dalek operators and that was apparent in episode two, where four Daleks conferring about whether or not to call a truce with the humans and The Doctor, director Michael Briant obviously tried to get the Dalek operators to instil as much movement into them as possible and the end result shows the Daleks almost having itchy feet (or should that be casters?) and it looks most effective... except for the one stuck at the back which doesn't move at all, not even a slight twitch from his plunger - the Dalek in question was an immobile one that was borrowed from the publicity circuit. The non-moving Dalek situation is quickly remedied by having the Exxilons destroy it in a rather poorly-staged action scene; we certainly appreciate the inherent problems in staging action sequences in the studio when shooting with multiple television cameras, but when it's out on location, using 16mm film, the restraints are much less and any directorial problems can be sorted out during the editing. The exhibition Dalek pops up several times during the story, coming in handy whenever a Dalek needed to be blown up - this thing was the Doctor Who equivalent of Captain Scarlet. Michael Wisher, the man who would later portray the creator of the Daleks, is on hand to provide the voices of his future televisual offspring and makes a pretty good job of it, having been left to do them all by himself owing to an availability problem with one of the regular Dalek voice artists.
There is much arsing around in a quarry pit (which looks quite a lot like the one seen during the climax of Frontier in Space), but it's an impressive location and works rather well in this episode, with director Briant employing many inventive camera angles and the appearance of a small lake during the third episode added to the possibilities. Speaking of the lake, this is where the main appearance of the snake-like root makes not only Michael Briant cringe, but also many Doctor Who fans, as little attempt was made to cover the wires that held up the fearsome beastie, which was puppeteered by some poor sod in a cherry-picker just off-screen - if you can overlook the screamingly obvious method of bringing it to life, then it's pretty impressive and makes short work of Daleks. It's a pity that the Restoration Team couldn't have digitally removed the wires, but it certainly would have been one hell of a job. Michael Briant also puts in some little touches that impress in very subtle ways, such as a conversation about the Exxilon city fades away as the scene dissolves to one showing Sarah Jane approaching the location just being talked about, selling to the viewer not only that the place is dangerous, but that our plucky journalist is completely oblivious to this.
The music of the Pertwee era could best (and most charitably) be described as 'eclectic', with a mixture of traditional Dudley Simpson compositions and experimental works that sounded like R2-D2 simultaneously farting and having a stroke during a cocaine binge. The incidental music featured in Death to the Daleks was performed by The London Saxophone Quartet and whilst some of it actually adds to the atmosphere of (Sarah Jane approaching the forbidden city is given a real boost by the subdued and very effective score), but much of it is toe-curling stuff and sounds like it was performed by the drunken inhabitants of a music pit in a strip-joint just before chucking-out time. The almost surreal musical stylings heard here could be rationalised by arguing that the Daleks without their ability to exterminate are reduced to ineffectual figures of fun and the score underpins this idea, but the Daleks quickly regain their lethality and this musical motif continues, reducing their on-screen menace considerably.
As the story enters the final act, The Doctor and Bellal find themselves in the Forbidden City and they face a multitude of traps and tests - such a premise would resurface in later stories, most notably The Pyramids of Mars, but this lethal environment would give rise to one of the most ineffective cliffhangers in Doctor Who's history; The Doctor spots a red and white mosaic-like pattern on the floor and urgently tells Bellal to stop - that's it. It screams "didn't have enough time in the studio before the lights went out at 10pm". A pity, really, as with a bit more effort, it could have been reasonably effective.
Terry Nation's derring-do World War II-inspired heroics that were often seen in Doctor Who (usually by Earth-based military types) were fine for the time, but in the present climate, the idea of someone willingly ending their life by detonating a bomb for their cause is pretty dodgy. One of the members of the Marine Space Corps makes the ultimate sacrifice and it can be seen as the sci-fi equivalent of "my... last... grenade!" gallantry, but this can be seen very differently these days, as one person's noble sacrifice is another person's suicide bomber.
Sadly, the original film elements for the location footage and the results - even after the Restoration Team worked on this story - are pretty disappointing. It's entirely possible that Death to the Daleks contains quite possibly the most grotty-looking film elements in Classic Who history, with a combination of factors making it look terrible - shooting on 16mm always meant that a degree of grain was going to be present, but this is not usually a flaw; next up was the decision to shoot quite a bit of the location footage day-for-night, which can make on-screen action harder to see, as everything seems to be put through filters; finally, the process of transferring the film footage on to video can have a hand in making film sequences look even worse. The Restoration Team have done what they can with the film footage and even having a quick comparison to how this stuff looked on the VHS release, there is a definite improvement in, but it still falls somewhat short of some of their other restorations.
When the action switches to studio, it is another matter entirely - the scenes shot on videotape look wonderful, as the original Quad tapes survived (though episode one only existed in NTSC up until 1992, when a PAL copy was returned from Dubai) and they have been lovingly remastered. Because Barry Letts had a particular penchant for using Colour Separation Overlay, many of the scenes that would have ordinarily been achieved by shooting on location or on film were executed entirely on videotape and as a result, the amount of filmed material was minimised.
No problems to report here - everything sounds fine, even the schizophrenic score by Carey Blyton has a certain drunken charm to it. It is worth pointing out that Pertwee's exclamation of "Daleks!" at the end of episode one is still squashed by the music score, but this was obviously down to the original audio mix and very little could be done it.
Audio Commentary: Once again it's Tobe Hadoke grabbing the reins to another fun-packed audio commentary with those involved both in front and behind the camera, giving everyone a chance to exorcise the ghosts of television past whilst preserving the thoughts of a diminishing breed of individuals. Certain participants drift in and out between episodes, providing a great mixture and stops the flavour becoming too familiar - we call it the Adam Richman technique. It's all good fun, but did you expect anything else?
Dick Mills brings his wonderfully unpretentious style to the fore as he explains his method for creating a complex audio mix for a subterranean environment: "If you are underground or in a cave and with limited vision… I try to do a [signature sound] for each sort of level, like sort of Ladies' Underwear and then down to Kitchens and then things like that." He tries to be diplomatic about the less-than-celebrated work of Mr Blyton when doing his job, too: "With Carey's music being too sparse, I had to get something of an atmosphere in between the notes". Damn, that man should work for the U.N.…
Richard Layland Assistant Floor Manager notes that Pertwee was "…a difficult man to work with", agreeing with the consensus that he really didn't like change, bringing out his irascible nature. Interestingly, Briant recalls that the Bouffant'd One just wanted to look good on screen, a task he describes as "easy" and that working with Tom Baker was much more of a trying time. Layland also relays the story he was told when he came onto the show, that all of the previous Dalek props/suits were no longer in existence, having been chopped up for firewood in the wake of the declining figures during Pat Troughton's era, not expecting Doctor Who to last very long after that.
With the third Doctor being a diehard dandy, it is no surprise that Pertwee got on well with costume designer L Rowland-Warne, who comes to his defence amid calls that he was difficult, "I found him quite easy to work with," he confesses, "…As long as you paid a certain amount of attention, he was perfectly alright". He lavishes more higher praise on Lis Sladen, almost bristling when he says that she "…was such a lovely lady to work with. I think she was the best partner to Doctor Who (sic) ever."
Trundling in for a couple of episodes is veteran Dalek Operator Cy Town, who deftly grapples with the 4th Dalek which sits around in the background doing almost nothing as the others take on the real tasks. When the subject of ol' Ringo comes up, Town asks Briant that question most would want to have answered: "Why didn't you have a prop-man with a long stick poking it to make it look as thought it was animated?" The director wastes no time in replying: "Because it weighed half a hundredweight!" He is just as quick off the mark when Hadoke demands he explain just why the Daleks use small models of the TARDIS for target practice: "Well… it seemed like a really good idea at the time…" OK, one more apology from Briant, and we're finished on it: the Exxilon root is a real howler for all concerned, and you might wonder about the thought processes behind it, so take it away, Mr Director: "The root was something which was absolutely wonderful in the office, and when we were discussing it and planning it, it seemed like a really, really good idea, but the reality… I think domestic duct-tubing with a light at the end of it on bits of nylon line is not perhaps the best thing in the world…"
The elusive Joy Harrison is an actress desperately wanted for her participation in the extras on this disc, but even the best efforts to get her directly involved proved unsuccessful. Commentary alumnus Julian Fox did all he could: "We sort of lost touch", he remembers, "I think she went away to live in a castle somewhere… I may be wrong about that, but when tried to get hold of her for the [documentary] for this, even Equity couldn't come up with [her contact details]. I didn't realise she was out of the country". Thanks to Mr Hadoke and the ever-resourceful Richard Bignall, Harrison was tracked down to Canada and sent along an email about her thoughts on getting the role and being involved, not to mention the expressions required for actress in Doctor Who, which is dutifully read out to eager fans. Any other outfit would have just not bothered, but leave it to these guys to really push the boat out!
There is a good rapport between departments, and lots of warm humour to be found. Briant talks a mile a minute, and is always interesting, and between his efforts and Hadoke's expert way to metaphorically poking the older participant with a sharp stick, everything zips along nicely. There are only so many commentary tracks to come, and we'd like to impress upon viewers to take time out to listen to them whilst they are still coming. We have the funniest urge to break into a chorus of Big Yellow Taxi for some reason - never mind! Reassuringly solid stuff once again from the guys.
Beneath the City of the Exxilons: Nick Briggs (in character!) narrates this entertaining look at the story that saw the Daleks get all narked when their guns just can't quite shoot a mighty bolt the way they used to, and Mr Briggs even gets a caption on the screen reading "World's Biggest Death to the Daleks Fan" when interviewed out of character. Is this going to be a fun look at a fondly-remembered story? You bet your sweet bippy it will!
Strap yourself in for a look at the nuts and bolts that held those metallic monsters together for Pertwee's second tussle with Skaro's finest. We're happy to report that you'll find the usual mixture of engrossing factoids and titbits which will have you snigger with delight, and although many of the principles are no longer available to give their side of things, the people brought together to tell the story of Death to the Daleks is no less effective than if Pertwee and Sladen themselves had been around to participate. Things kick off well as Assistant Floor Manager Richard Leyland recalls the parallels of the time in the seventies when national strikes saw periods of blackouts across the country, mirrored by the TARDIS experiencing such problems, extending to the same thing during rehearsals where they would often perform run-throughs in darkness. With an opening gambit this good, you know you are in for treat.
Director Michael E Briant reveals that he was ensnared from the outset when he read the script, cynically expecting the usual procession of Daleks at the opening of the story, only to be impressed at being dropped into the heart of something mysterious - is it any wonder he accepted? Anyone with experience of Briant's anecdotes before will know that he really can rattle off amusing stuff, and delivers a belter about the Bouffant'd One heavy-handed approach to getting a Dalek moving along its rails by giving it a vigorous shove.
Speaking up for the cast members either not top of the bill or hidden by a mask is Julian Fox (Peter Hamilton) who spins a terrific yarn about the problems facing actors when confronted by a monster which is considerably less than convincing, with all of the wires clearly visible to anyone possessed of a pair of eyes. Keep watching for the time he got a tutorial on holding a bow from none other than Jon Pertwee himself.
We like when those responsible for the aesthetic side of things get to tell their side of things, and loved costume Designer L Rowland Warne's master class on trying to bring menace to what is essentially a human-form monster, through the magic of a bunch of latex and wadding. Briant echoes the sentiment of how difficult this can be to achieve, being determined to learn from the mistakes he made on such matters on Colony in Space, and make the Exxilons blend into the their environment. Clearly it worked, as Fox recalls one instance where he thought all of those playing the creatures had gone home for the day, when they later found fast asleep in the dunes!
There is some great use of the studio footage found elsewhere on this disc, with Pertwee and the guys put through their paces, and the Man With The Bouffant is shown blowing his lines a couple of times. The setting up of CSO is always good for a chuckle, as the sight of some hairy technician walking around a background as though a wandering giant can't fail to raise a smile. Speaking of our leading man, Arnold Yarrow (Bellal) has nothing but good things to say about Pertwee, the seasoned thespian more than a little concerned by the restrictive nature of the alien costume, and went out of his way to make sure he was a comfortable as possible.
There are times when an actor can bring a fresh approach to post production, and Fox recalls when he was invited to sit in on the editing process, specifically when the exploding city was having the audio mix done. After various expected sounds where exhausted, Briant asked Fox his opinion as to how it should appear in the final episode, and the actor pointed out that as it is a living environment being levelled, then the sound of screams should dominate. Naturally, he spent the rest of the day as part of the group taking care of such lung-ripping duties! Apparently, Briant did the best screams, but you would expect that from a director…
Everyone has good things to say about Death to the Daleks, and they all think that it holds up well to this day, in spite of the technical limitations inherent of the time. Even though the end of the Doctor Who releases is in sight, there is certainly no dip in the efforts of the guys when putting their extras together, and we really had a good time with this fun documentary.
Production Subtitles: We might be biased, but this is the special feature we look forward to the most, in spite of the peerless quality of the rest on offer. Such vast quantities of enlightening stuff has never been as digestible and downright fun than the Doctor Who Production Subtitles. More user-friendly than Universal's U-Control, less intrusive than Fox's Maximum Movie Mode and more edifying than Disney's Cine-Explore. If we had our way, it would be an option to select from the main menu rather than being filed away in a dark corner amongst the extras.
We are treated to the saga of the second episode of Death to the Daleks being deemed too frightening for the youngest of viewers, with Monica Sims (Head of Children's Programmes) putting forward the notion that the show should be moved to a later slot after the five-to-seven age group were safely in bed. Good research allows us to see the wave of support for Doctor Who from BBC staff, all countering the both Sims' initial claim and her suggestion of changing the time of transmission. Just compare this to how one vengeful schmuck was able to bring the show to its knees during the eighties, with few at the BBC leaping to its defence as they did over a decade earlier.
It even spills the beans on the rather cruel game played by Pertwee and Sladen when boredom was setting in, where they would play out a scene during rehearsals only mouthing so as to make the sound think there was something wrong with their equipment. Naturally, they had a good arse-kicking from all concerned for pulling such a prank. For more information about how Pertwee staved off the tedium of filming, please see the Studio Recording section below.
We always look forward to the keen sense of humour interlaced into these tracks, and the approach favoured about the infamous "Dummy Dalek" is than of putting it into the form of a question. "Q: Why is the Dalek at the top-right so still compared with the others? A: Because there is no-one inside". Never wishing to leave things on a just a laugh, it goes on to report that this was referred to as a "Goon" by the production, a name given to any of the monsters which were there just to boost the numbers rather than contribute any movement.
If you presume that you'll get an exhaustive rundown of all changes between various drafts, material added during filming and stuff dropped from the final edit - you'd be dead right! It's this tenacious drive to get hold of every scrap of information about the story which is at the heart of every Production Subtitle track to grace a Doctor Who release, let alone bringing it fruition in a form both assessable to the layman and detailed enough for the hardened fan.
You'll find out just how Pertwee's bad back meant a major re-jig of the schedule to accommodate the ailing actor, the Problems with an over-eager makeup artist who decided to really go for the "Sci-Fi" look with Liz Sladen and you even get to find out which catering company took care of the cast and crew whilst on location, with Cinefood being the firm in question! The details are infinitesimal, but never less than a whole lot of fun to experience. The Production Subtitles have always operated on a 1:1 ratio of effort put in and enjoyment derived from it, and the track gracing Death to the Daleks maintains the impossibly high standards set by itself long ago.
On the Set of Doctor Who and the Daleks: Revolving around the discovery of documentary footage from an ITV show entitled Movie Magazine, any other company would have just put these silent clips out accompanied by music, but we all know that this isn't the approach that the producers of Classic Doctor Who DVDs would ever take! These guys take the stuff, go out and get interviews with a whole bunch of people and fashion it into an utterly fascinating look at the "interesting" big-screen adaptation of the BBC's ratings smash.
Marcus Hearn (We're never going to let him forget that he wrote for The Dark Side, as along with Samhain, it furthered us into the horor and exploitation world) fills us in the circumstances around the footage, and we get a load of others to explain just how significant the movie was at the time, both personally and culturally. Building up a profile of the director, First Assistant Director Anthony Waye asserts that Gordon Flemyng was damn good at what he did, and son Jason asserts that his father was loved by those good at their jobs, and hated by those who weren't.
Dalek Operator Bryan Hands joins the chorus of voices praising the importance of Shepperton Studios to the British film industry (we concur, as we've also filmed there) not to mention the equal importance of the Red Lion pub found onsite. It's funny to think that Peter Cushing was cast as The Doctor not through careful choosing as to which actor would be appropriate for the role, but just because Rosenberg and Subotsky held him over from their previous Doctor Terror's House of Horrors. Ditto Roy Castle!
Hands shows a script he was given to enable the operators to sync up the flashing lights to the dialogue. Most people just reading this will be thinking the same thing - what the hell happened with that, then? The crowning glory of the footage has to be to clip of Cushing and Castle performing an energetic dance number together, which shows a sense of levity and clowning which you really didn't get to see in Cushing, and it's wonderful that an instance like that has found its way into the archives.
There are lots of little delights to be found, but best of all are Jason Flemyng's feelings towards the movie and the footage, as he has spent the past twenty years locating material on his father. We've always liked the guy (oh come on, Mr F, was Seed of Chucky worse than a lot of League of Extraordinary Gentlemen?) and it's a pleasure to he him speak to fondly about Doctor Who and the Daleks, with the best being how he's waiting for his infant kids to become old enough to play the movie for. This is lovely stuff, and we fail to see how anyone watching won't get a real charge out of it.
Doctor Who Stories - Dalek Men: They've had their own movies, been plastered over a mind-numbing variety of mugs and even a series of piss-poor dressing up suits, but they finally get their own edition of the entertaining Doctor Who Stories. Obviously the monsters themselves aren't much for conversation, so they leave it up to John Scott Martin and Nicholas Evans to speak on their behalf, which they do so admirably.
Getting the job through an acquaintance with Richard Martin, Evans recalls how he was unaware of the role he would be playing, misguidedly believing that he got the part through his acting prowess. Needless to say that things were soured somewhat when he turned up at the studio and was shown over to the Dalek costume he was to be locked inside. This is the perfect example of getting the job purely because you were the only one the suit would fit, like a desperate department store looking for a Santa on Christmas Eve.
With Martin now in the realms of the beyond, it does the old heart good to get another opportunity to hear him say that "…it helped if you were an octopus" when trying to get a performance out of a Dalek. Given that this is the last opportunity for him to tell his tales, nobody can get huffy that Martin spins yarns of playing one a Zarbi in The Web Planet, and the posture-destroying nature of the costumes. With our man being the backbone of the Daleks during the original Doctor Who, it's a damn good job that the insectoid shell didn't do his spine any permanent damage. Not to be outdone in the one-off creature department, Evans is particularly pleased that he was the only person ever to play a Slyther on the show, going into how the costume wasn't even finished for the end of the episode, but was completed when they went to film the recap for the following one.
The popularity of the Daleks, scaring the shit out of kids in public, how to take a slash when bolted into the costume, the enduring appeal of the show, it's all here to be discovered and enjoyed. Both guys are proud of their association with Doctor Who, and it's certainly poignant to hear Martin wax nostalgic about days gone by. These guys deserved their own Doctor Who Story, and they haven't been short-changed, and anyone watching it will not be cheated out of a great way to spend 13 minutes.
Studio Recording: There exists a hell of a lot of material from the recording of this particular show, and to have put the whole lot together would have bored even the most enthusiastic of fans senseless, so here we get over 20 minutes of edited highlights which perfectly encapsulate the atmosphere and mechanics of being in the studio during the taping. Anyone who has gone through the repetitive nature of filming in a studio will know that the boredom factor sets in after a certain length of time, and even the most professional of actors will erupt into spontaneous bits of mischief to stop themselves from going mad. A perfect example of this sees Pertwee finish the end of a sequence with a jaunty little tune with the words " Bye, bye, Dalek, it was me".
The illusion that Skaro's finest are capable of instilling fear across the galaxy is given a severe knock throughout this footage, as there are plenty of instances where their integrity was saved through careful framing and judicious editing tricks. One of the evil pepper-pots trundles too far inside the entrance to the ship, magically emerging on the other end of the screen when the set runs out and intrudes on the CSO sheeting. If these guys could do such a teleportation trick all the time, they really would conquer the universe! Although it's blatant when watching the final product, the infamous "dummy" Dalek is even more lifeless here, clearly seen being pushed into place by a helpful hand as the metallic menaces emerge. Also included is an unused take where the Daleks hatch their plan, which was dropped due to the feeling that to have the fiends whispering to each other didn't seem to fit the piece.
With the Daleks in mind, there are plenty of chuckles to be had, especially when the ammo is depleted during the testing of their modified weapons, where one of the operators is clearly heard to say "I'm out" one the firing has stopped. He didn't even try to sound like a Dalek to maintain the illusion! The laughs continue with some helpful captions to draw attention to certain things, all in the style of the factual/humorous tone of the Production Subtitles, with our favourite being the pointing out the "hideous 1970s mattress" used to break the fall of a stuntman.
This is golden stuff, and probably the most candid of such material to be released, giving you a real flavour of just what it was like to be around the pressured environment of a BBC studio when trying to get everything done on a complex shoot. The quality of the footage is excellent, and will please anyone wanting to give it a spin and play "spot of signs of irritation" in Pertwee's mannerisms every time someone doesn't do their job to his exacting standards!
Photo Gallery: You want colour? How about black and white? You don't have to worry, as both are given equal treatment in one of the best galleries to feature on a Doctor Who release, with a pretty extensive assortment of photos which show off the best aspects of the show and make you want to experience it all again. When looking these stills, the Exxilon costumes are incredible, blending in with the surroundings perfectly, just as originally designed, and we get to see couple of variations of the much-used photograph of a Dalek on fire. There are some wonderfully moody monochromatic shots that damn-well look like art. It's a terrific collection of images, and all set to Carey Blyton's score - but try not to let that put you off. Hell, that's what the volume control it for, after all.
Isolated Score: As we just mentioned the work of Carey Blyton, it seems only fair to warn you that his score is presented without the impediment of dialogue and effects to spoil your enjoyment. It's really cool that the effort has been taken to include it, and we are sure that there are fans of it out there. Oh, the Exxilon chants are also to be found in their unfettered form, too.
PDF Materials: The usual Radio Times listings are niftier than those of late, episode accompanied by a deeply cool illustration which would have had kids climbing the walls to see them at the time. Just as terrific is that each comes with a plug for the Radio Times Doctor Who Special - with full details how to make your own Dalek - for only 30p! Such wonderful memories…
Coming Soon: The Skrotons. Oops, we mean The Krotons. When many of the Troughton stories were wiped, that this particular story escaped is akin to the entire cast of Star Trek: The Next Generation being killed in a explosion at a convention centre with only Wil Wheaton surviving the attack. Still, they have cut together a pretty entertaining trailer for it, and anyone able to make The Krotons look good is surely to follow in the footsteps of Peter Hunt and Stuart Baird in the annuls of legendary film editors.
Death to the Daleks represented something of a minor milestone in Doctor Who's history - the production team that made up Jon Pertwee's tenure as The Doctor were moving on and members of the cast were falling away, but Death to the Daleks is quite possibly our favourite story in Pertwee's final season. There is an air of melancholy about it (augmented by the saxophone-led music score), but there's much to enjoy, with cool-looking Daleks, plenty of action and a great guest cast. In short, It's Jon & Lis' Excellent Adventure...
This story also represents a significant milestone in the release of Classic Doctor Who titles on DVD, as this is the final Dalek story to be released and there is a degree of sadness as we finish this review, knowing that there will be no more classic adventures featuring the most iconic villains in television history (unless more missing episodes featuring the Daleks miraculously turn up) and it signals that another giant stride toward the end of the Doctor Who releases DVD has been taken.
Review by Wilson Bros
Existing Posts
I do believe the "motorised dustbins" line (or one very similar) was used in The Dalek Invasion of Earth in 1964, as well as it's later film version. I could be wrong but having just watched it lately, I am sure there are words to that effect in the TV serial.
Furthermore, there wasn't a publicity Dalek used in this serial. The props were a mixture of parts of the four originals built for The Daleks, and ones built later for TDIOE and The Chase. The website Dalek6388 outlines this in great detail - definitely worth a read for Dalek fans!
As for the mosaic floor cliffhanger, the episode was underrunning, so the intended cliffhanger came too early in the show (as the Daleks enter the city examining the symbols on the wall). As a result, they had to bring the cliffhanger forward to the one we know today. This is mentioned on the production notes/trivia track on the DVD.
I'm not trying to be a smart alec or anything; as fans yourselves I am sure you want your reviews to be as correct as possible, so I'm just trying to help out. But when it's words on a screen and not a spoken voice, sometimes comments can be read the wrong way or a tone of voice implied that isn't there, so I wanted to make that clear
Furthermore, there wasn't a publicity Dalek used in this serial. The props were a mixture of parts of the four originals built for The Daleks, and ones built later for TDIOE and The Chase. The website Dalek6388 outlines this in great detail - definitely worth a read for Dalek fans!
As for the mosaic floor cliffhanger, the episode was underrunning, so the intended cliffhanger came too early in the show (as the Daleks enter the city examining the symbols on the wall). As a result, they had to bring the cliffhanger forward to the one we know today. This is mentioned on the production notes/trivia track on the DVD.
I'm not trying to be a smart alec or anything; as fans yourselves I am sure you want your reviews to be as correct as possible, so I'm just trying to help out. But when it's words on a screen and not a spoken voice, sometimes comments can be read the wrong way or a tone of voice implied that isn't there, so I wanted to make that clear
Thanks for the kind words, guys - they mean a lot.
James - We certainly intend to carry on, as we wish to see out the series' release on DVD.
THB - More restrained than our other ones? We must be losing our touch! LOL! Seriously, we didn't make a conscious effort to tone down our writing, but we're glad that you still like our stuff.
Chris - We have loved Doctor Who since we were six years old and we will always love the show, and your observation about our humour coming from love (rather than hate) is spot-on. Oh, we share your love of the TVM and wish that Moffat would bring McGann back...
Kevin & Nick W
James - We certainly intend to carry on, as we wish to see out the series' release on DVD.
THB - More restrained than our other ones? We must be losing our touch! LOL! Seriously, we didn't make a conscious effort to tone down our writing, but we're glad that you still like our stuff.
Chris - We have loved Doctor Who since we were six years old and we will always love the show, and your observation about our humour coming from love (rather than hate) is spot-on. Oh, we share your love of the TVM and wish that Moffat would bring McGann back...
Kevin & Nick W
Lovely review as always guys. Nobody can really hold a candle to the way you guys manage your thoughts to such a thorough, knowledgable and well-ordered degree. Your humourous asides, are always well-observed and come from a place of love not hate, pointing out both good and bad in all corners of this great programme.
Another cracking review. More restrained than some of your other ones, but no less entertaining and thoughtful.
While I buy all Doctor Who releases regardless, it's good to know what to expect when I pop the shiny disc into the player.
I've said it before, and I'll say it again. Your reviews truly make DVDActive worth visiting.
While I buy all Doctor Who releases regardless, it's good to know what to expect when I pop the shiny disc into the player.
I've said it before, and I'll say it again. Your reviews truly make DVDActive worth visiting.
Thankyou for this very intereresting review guys.
The hard work and attention to detail you put in is obvious. I look forward to your Dr Who reviews almost as much as the DVD's themselves.
Please please do not stop and continue to carry on as I find your views really thought provoking and gives another viewpoint and context that is refreshing to read.
Once again thanks,
The hard work and attention to detail you put in is obvious. I look forward to your Dr Who reviews almost as much as the DVD's themselves.
Please please do not stop and continue to carry on as I find your views really thought provoking and gives another viewpoint and context that is refreshing to read.
Once again thanks,
General viewing, but some scenes may be unsuitable for young children
Disc Details
Release Date: 18th June 2012
Discs: 1
Disc Type: Single side, dual layer
RCE: No
Video: PAL
Aspect: 1.33:1
Anamorphic: No
Colour: Yes
Audio: Dolby Digital 2.0 English
Subtitles: English
Extras: Audio Commentary, Beneath the City of the Exxilons, Studio Recording, Doctor Who Stories: Dalek Men, On the Set of Doctor Who and the Daleks, Isolated Score, Production Subtitles, Photo Gallery, Coming Soon Trailer, PDF Materials
Easter Egg: No
Feature Details
Director: Michael Briant
Cast: Jon Pertwee, Elisabeth Sladen, Duncan Lamont, Joy Harrison, Michael Wisher
Genre: Sci-Fi
Length: 98 minutes
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(June 25, 1948, ch. 644, 62 Stat. 674.)
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This looks to be an interesting use of an hour of my life. Figured I'd post it for any other AO'ers to share in.
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Pass the butter, please.
Arlen Specter just popped. You never know in politics, but based on my experience in watching polling trends, only a mid-May blizzard or some other freak phenominon of nature can at this point prevent the five-term senator from losing the Democratic primary to Rep. Joe Sestak of Delaware County, one week from tomorrow. Over the next week, you will see some remarkably nasty attack ads from Team Specter and intensive campaigng from his erstwhile East Falls neighbor Ed Rendell and maybe even from Barack Obama, although if anyone on the Democratic side has any common sense (heh) they will allow the president to save face by announcing that he's busy dealing with some crisis in D.C., since there are so many to choose from. None of this will work. Specter has already thrown the dirty-ad kitchen sink at Sestak.
It just hasn't worked.
What amazes me is that the pundits didn't see this coming a year ago. Everyone is acting all stunned by the Sestak ad showing Specter's endorsement from a Will Ferrell-esque George W. Bush and his political flirtations with Sarah Palin, when it was obvious a year ago that such an ad was coming and that it would destroy Specter and that he would melt faster than the Wicked Witch of the West the second that it hit the airwaves. Do the talking heads even know who votes in an off-year Democratic primary? If not, hop into my Prius and I'll drive you down to the Whole Foods and show you -- they are NOT voting for an ex-Bush "ally"...ever.
Also, there was so much talk of what a political genius that Specter is, when it turns out that his only genius is in using the power of incumbency to raise millions of dollars. In fact, his handling of the party switch -- when he looked into the camera and said the main reason he was switching parties was to get himself re-elected -- was actually the biggest political botch I have ever seen in my life. I'm sure he thought that didn't matter, because Rendell and Obama and the supposed Democratic machine would save him in the end. Except that those two guys and and the creaky "machine" couldn't elect a dogcatcher in Pennsylvania right now (I think Obama's fortunes here will improve greatly in 2012 as long as the economy improves as well -- but that's two long years away).
Which is why Specter is toast. Hey, it's been a heck of ride, Arlen, for about 50 years. Now Pennsylvania's senior senator will be able to enjoy something that I -- and quite possibly you -- will never experience.


text:
Linked by Thom Holwerda on Thu 18th Apr 2013 11:21 UTC
Nokia has posted its quarterly results for the first quarter of 2013, and just like the quarters that came before, there's not a whole lot of good news in there. The rise in Lumia sales still can't even dream of making up for the sales drop in Symbian phones, and when broken down in versions, the sales figures for Windows Phone 8 Lumias in particular are very disappointing. In North America, Nokia is getting slaughtered.
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by pandronic on Thu 18th Apr 2013 15:07 UTC in reply to "RE: Comment"
Obviously they can't grow forever, but I feel that for now it looks OK for Nokia. Even if their traditional products are going down hard (cheap phones are probably replaced by basic Android devices and Symbian is thankfully dead), the direction they are actually focusing their efforts on is steadily growing (and a few million phones is not just noise). I think Thom was too quick to judge.


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The Rise Youth Group from Washington County Schools came on Wednesday afternoon, Dec. 21.
They sang Christmas songs, played the piano, and presented everyone with a gift and a card. Everyone had a great time with the students. We appreciated what they did for us. It's great to have young people together with adults. You can see the event on Central Kentucky Television on Channel 6.
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Blackened Ahi Tuna Salad
|Seafood, Pasta, Vegetables, Beans
|Day Part
|Dinner, Lunch
|Menu Part
|Cuisine Type
Source: Daily Grill
The 21-location casual Daily Grill introduced its Simply 600 Menu in January. All the items—including sandwiches, salads, burgers and tacos, as well as meat, seafood and pasta entrees—come in at 600 calories or less. Kastel designed the menu for people who want to enjoy great food without the guilt. Here, ahi tuna is lightly seasoned with Cajun spices and seared rare for a dish that's as pleasing to the eye as it is to the waistline.
2 1/2 cups mixed greens
6 artichoke hearts
1/3 cup green beans, blanched, cooled and sliced
1/3 cup carrots, julienne cut
1/3 cup red bell peppers, julienne cut
1 oz. Asian style vinaigrette
1 tbsp. sliced green onions
1 tsp. toasted almonds
1/2 tsp. sesame seeds
5 oz. blackened ahi tuna
- In bowl, toss to combine greens, artichoke hearts, green beans, carrots, bell peppers and vinaigrette; place on large square plate. Garnish with green onions, almonds and sesame seeds.
- Slice blackened ahi tuna and lay across plate or on top of salad.


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Motivational sound track. Have fun =)
progress, strings, violin, guitar, modern rock, pop, rhythmic, overdrive guitars, energetic, powerful, strong, rock and roll, corporate, moody, emotional.
Best for background music, presentation, flash, video projects, web page music and personal ipod or cd.
HQ WAV and MP3 provided in download archive.
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mechanical project.
Budget $10-30 USD
I need some help in basic physics if you are available now and have time please contact me
37 freelancers are bidding on average $25 for this job
Hello sir, i have read your brief description on the project, and i found myself suitable for this project. I am fully able and equipped to perform this. i have more than 6 years of experience in the filed. I am More
whatsapp number: +92 321 6624970 My email id: uetian.09 at gmail dot com I am an Electrical Engineer having specialization in Electronics and Control, teaching in Electrical Department at FAST National University P More
Bachelor of Science, Faculty of Engineering, Mansoura University Mechanical Power Engineering Department, very Good (83.6%), Ranked (ninth). 2016 LinkedIn profile: [login to view URL] You t More
Have completed masters in Machine Design, I am having experience in 3d solidworks of 2 years, Have experience in AutoCAD of more then 3 years, Can complete modelling and can generate FEA analysis in ANSYS (1 year exp) More
Hi, if you could share the details of project I can help you. I have around 4 years experience in product development, where good part of time was focused on project report. Thanks
Hi..I have more than 6 years experience in engineering design. Works in an engineering based office with freelancers from various discipline. Structural, mechanical, piping, HVAC, electrical and architecture. We confid More
hello brother my roommate will do this job perfectly ofr you he has done his masters degree in mech engg and having good expereince in this field
Mechanical engineering and physics are my passion. You can check me out on linkedin (Onyenze Jaachimma N)
I Know I can do the job , but i don't want to compare to the others , and i think u can expect loyality from me.
Hello , i'm a senior phd student in material physics, i give tutorials in university. I think i have the necessery skills to do the works. Best regards
I have done bachelor of engineering in mechanical engineering, presently working as a scientist at Bhabha Atomic Research Centre, mumbai.
Pursuing my [login to view URL] in thermal Engineering from Gautam Buddha University And Published Paper in SAE and Elsevier.


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games like SAO won't be created before long son...don't try to think about it right now...even if they did some kind of version of it, it still wouldn't be like the anime ..
When you really want something, the whole universe conspires to make it happen.
ValIstarRinion wrote:
There will never be a virtual reality system that cuts your brain off of your body so that you can be in that virtual world moving around. The main reason for this is because there are too many idiots that would stay logged in until they died due to starvation or lack of REM Sleep. There has been reports of people that died playing World of WarCraft for not sleeping for too many days.
The closest we will ever get to Virtual Reality would be a wireless helmet for a TV in a room with Motion Capture cameras setup to tracking body movement and padded walls for when you walk into them.
Have you ever heard of quantum theory?
Stalking you.
I think we should see if we could get the government attempting to develop it. in the novels, they talk about how nervegear/amusphere are used to help patients trapped in hospitals to feel like they can lead a more normal life. it's also speculated that the american military was trying to find a way to use it for military training, emphasized by the point that Sinon knew how to handle some weapons she'd used in GGO in the real world.
glass, once broken, can never be restored perfectly
Holodeck with full tactile feedback like in Star Trek would be far better. Most all the benefits of the nervegear plus your body is actually being used instead of decaying. Of course the whole man-machine interface aspect of the nerve gear is deeply appealing.
It isn't as far fetched as it sounds its just tricking the senses into believing something that isn't really there, recent experiments have helped blind people see in a manner of speaking by manipulating the optic nerve and they have also created prosthetic limbs that can be controlled by the electrical impulse's from the brain. The science is still in its infancy and it might involve an operation but its not that big a stretch of the imagination to create a nerve gear. Although if that can be done the problem would be working out what's reality and what's fantasy.
You still need a controller for it. Only think that makes it different is the FOV. It makes you feel like you're in virtual reality. It's also 3D too.
Stalking you.
oh dear god
think of the porn possibilities!
or at least i would have fun in a MMO and be like Kirito
I'd love it. I can think of a few games I wouldn't mind being stuck in. On a side note, its not quite like the Nerve gear more like the vr from ./hack.
Nerve gear in few years would definitely revolutionize the gaming market.
I would think it would really help certain people that are paralyzed.
I'd game on it for sure if it came out but I'd be a bit cautious with it potentially frying my brain and what not.
I'd want Saguha's thing more that the whole head thing! though this is shoooo cute;
fk, gone
I'm confused on what it does.
No thanks. You never know what kind of problems something like that could facilitate. I got mildly electrocuted with a pen as a "joke"....now I suffer from nerve pain and inflammation occasionally in my hands.....sometimes it's so bad I can't write or use scissors.. Needless to say I wish I wasn't so nice and kicked the guy's ass who did that to me.
Watching K-dramas instead of sleeping....;D
JayVeeDees wrote:
I might be posting this in the wrong section, but what do you all think about the idea of you being transported into a game?
I'd Love ittt!! I want it NAO -.-
Saw this photo on a group on here, but couldn't post anything on there, or get any info on the subject, but here goes:
I know about another that has gotten pretty far towards this kind of tech. Its called the "Oculus Rift" But of course its not near as awesome as the nerve gear is But I guess its a step in the right direction.
It's actually coming out this January 2013.
i think i would rather wait for the type kirito's sister has just because i don't want to be stuck in SAO for ten years trying to beat the game.
(i know it only took two years but i think it would take longer for us)
Did you know 616 means devil while 666 really means Nero caesar


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Car Deals
Truck Deals: November 2012
As the end of the year looms, many automakers are offering generous incentives to help meet aggressive sales goals and targets set earlier in the year. That's especially true in the pickup segment, which typically records some of the highest sales--and the highest incentives. We've listed some of our favorite pickup truck deals below to help buyers shopping for a new truck find a good deal in November.
Chevrolet Avalanche
Several incentives are available for Chevrolet's full-size Avalanche pickup as it enters its final year of production. While the automaker isn't offering major deals on 2013 models, it is advertising interest rates as low as 3.9 percent for up to 60 months and up to $2,000 cash back. Of course, there are better deals to be had on the 2012 Avalanche including interest rates that drop to zero percent for up to 60 months and up to $4,500 cash back--a major deal considering the truck's starting price is around $37,500.
Find the Chevrolet Avalanche for sale
GMC Sierra
Shoppers interested in the full-size GMC Sierra can take advantage of a variety of big incentives this month. For buyers looking to finance a 2012 model, GMC is offering interest rates as low as zero percent for up to 60 months--a deal that we don't expect to last much longer as the supply of 2012 models dwindles. GMC is also offering up to $4,250 cash back on 2012 extended cab and crew cab models this month or up to $3,750 back on the regular cab Sierra. While the same deals don't apply to 2013 models, GMC is offering the latest model year of its full-size Sierra with up to $2,500 cash back or interest rates as low as 1.9 percent.
Nissan Frontier
There are a range of deals on the midsize Frontier pickup in November. For shoppers looking to finance the truck, Nissan is offering interest rates as low as zero percent for up to 36 months--a number that increases to just 1.9 percent for 72 months. For cash buyers, the Frontier can be had with up to $1,500 cash back in November, while shoppers interested in leasing a new Frontier can find 39-month deals with rates starting at just $249 per month with $2,449 due at lease signing.
Find the Nissan Frontier for sale
While there aren't any incentives yet on the newly facelifted 2013 RAM truck, shoppers interested in a 2012 can find deals as low as zero percent for up to 60 months on most upper-level models, or 36 months on base-level trims. For shoppers looking to lease a RAM, deals start at $289 per month in November for 39 months after $2,999 down, while buyers paying in full for the full-size truck can get cash back deals of up to $3,500 on upscale trims or $3,000 for most other variants.
Toyota Tacoma
Two special offers are available on the midsize Tacoma for truck shoppers looking to buy in November. The first is a small cash back deal: Toyota is offering a $500 factory rebate. While not the four-figure discount other automakers are offering, it's still an enticing incentive on the popular pickup. The automaker is also offering low lease rates on the Tacoma, including a 36-month term for just $229 per month after $2,999 down for a well-equipped crew cab model. Shoppers not stirred by those offers will find even more generous terms available for Toyota's full-size Tundra including up to $4,000 cash back and zero percent interest for up to 60 months.
Find the Toyota Tacoma for sale
What it means to you: With so many pickup truck deals available in November, don't buy a truck this month without a good discount.


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Orioles sign Freddy Garcia to minor league contract
Baltimore, MD – The Baltimore Orioles have signed veteran pitcher Freddy Garcia to a minor league contract.
Garcia, who was released by San Diego earlier this week, struggled this spring by posting a 1-4 mark with an 8.71 ERA in six starts for the Padres. He went 7-6 with a 5.20 ERA in 30 games (17 starts) for the New York Yankees last season.
In his 14-year major league career, the 36-year-old right-hander is 152-101 with a 4.15 ERA.


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[content] caption=This Year's Emmy Nominees in Past Roles That You May Not Remember body=
Neil Patrick Harris
Neil Patrick Harris hosts the 65th Primetime Emmys on Sunday at 5 p.m on CBS. The `How I Met Your Mother' star has himself won two Primetime Emmys, both for hosting the Tony Awards. Harris, who has been in the business for most of his life, was nominated for a Golden Globe in 1989 for his performance in the film `Clara's Heart.' Take a look at some of this year's Emmy nominees now and earlier in their careers.
Jim Parsons
`The Big Bang Theory' has made Houston native Jim Parsons a star. This weekend, He'll go for his third Emmy as Sheldon Cooper. Parson got his start on the stage in Houston in productions such as Stages Repertory Theater's `Below the Belt' in 1998. … and Tamarie Cooper's `Tamalalia 3' in 1998. (That's him way in the back.)
Alec Baldwin
Alec Baldwin already has a pair of Emmys for his turn as Jack Donaghy on `30 Rock.' Baldwin got his start on the daytime soap `The Doctors' in 1980.
Jason Bateman
Jason Bateman (with David Cross) was nominated for his work on `Arrested Development' back in 2005. He has another shot at the Emmy this year after Netflix revived Michael Bluth and the series.
Fans of '80s television may recall Bateman's short-lived NBC series, `It's Your Move,' which also starred David Garrison and Caren Kaye. Bonus: Bateman also enjoyed a multi-episode run on `Little House on the Prairie' as James Cooper Ingalls.
Matt LeBlanc
Matt LeBlanc, who was nominated for `Episodes' in 2011, is up for the Emmy again this year. LeBlanc was nominated for three Emmys as Joey Tribbiani on `Friends.'
Louis C.K.
Louis C.K. won an Emmy last year for writing for his FX series, `Louie.' This year, he may take home an acting Emmy. Louis C.K. was a writer on `Late Night with Conan O'Brien' from 1993-94.
Don Cheadle
Don Cheadle is up for the Outstanding Lead Actor in a Comedy Series Emmy for the second year in a row for his Marty Kaan on `House of Lies.' In 1987, Cheadle starred in the Vietnam War film `Hamburger Hill.'
Vera Farmiga
Vera Farmiga is up for the Emmy for lead actress in a drama for her work as Norma Bates in `Bates Motel.' The actress starred alongside Heath Ledger in `Roar,' back in 1997.
Michelle Dockery
Best actress nominee Michelle Dockery just can't seem to find luck at love as Lady Mary on `Downton Abbey.' In 2006, she starred in `Hogfather,' in which she played Susan / Death of Rats.
Maggie Smith
Speaking of `Downton Abbey,' Maggie Smith is nominated in the supporting-actress category for her work as Dowager Countess of Grantham. In 1963, Smith starred as Miss Mead in `The V.I.P.s.'
Claire Danes
Claire Danes, who is nominated for `Homeland,' has already won an Emmy for her work as Carrie Mathison. Danes was nominated back in 1995 for the much beloved `My So-Called Life.'
Robin Wright
Dallas born Robin Wright's Claire Underwood is a woman you shouldn't cross and the wife of Frank Underwood (Kevin Spacey) on Netflix's `House of Cards.' She's best known to a lot of people as Princess Buttercup in `Princess Bride.' Back before she was married to Sean Penn, Wright dated Jason Patric.
Elisabeth Moss
Elisabeth Moss is a five-time Emmy nominee and four-time loser for her role as Peggy Olson on `Mad Men.' Perhaps this year she'll break her streak. In 1997, Moss starred in `A Thousand Acres,' an update of Shakespeare's `King Lear.'
Connie Britton
This year's Emmy nomination for `Nashville' is Connie Britton's fourth. She was nominated twice for `Friday Night Lights' and once for `American Horror Story.' At the turn of the century, Britton starred opposite Michael J. Fox, also an Emmy nominee this year, on `Spin City.'
Kerry Washington
Kerry Washington's Emmy nom for political thriller `Scandal' is her first. Back in 2001, Washington won a Teen's Choice Award for `Save the Last Dance.'
Bryan Cranston
Bryan Cranston might be the hottest actor around right now. He already has won three Emmys as Walter White on `Breaking Bad.' Sunday could bring his fourth for the show, which comes to an end Sept. 28. His co-star Aaron Paul is up for the best supporting actor in a drama, an award he won in 2010 and 2012. Cranston, along with Pamela Bowen, spent some time on the ABC soap opera `Loving' in the early 1980s.
Aaron Paul
Paul starred with David Caruso in a 2003 episode of `CSI: Miami.'
Jonathan Banks
If we mention Aaron Paul's nomination, we have to include Jonathan Banks' as well. Banks is nominated as Mike Ehrmantraut from `Breaking Bad.' In 1982, Banks played a bad guy on the William Shatner police drama, 'T.J. Hooker.'
Hugh Bonneville
Hugh Bonneville didn't win the Outstanding Lead Actor in a Drama last year for his role as Crawley family patriarch, Robert, on `Downton Abbey.' He has another shot on Sunday. In real life, the `Iris' actor has proven he could use the services of Robert Crawley's valet.
Jim Carter
Jim Carter, who plays Mr. Carson on `Downton Abbey,' is up for the best supporting actor, drama, Emmy. Here's Carter in the 1995 film 'The Grotesque,' which also starred Sting.
Damian Lewis
Last year, Damian Lewis won an Emmy for the Showtime thriller `Homeland.' In 2001, Lewis starred in HBO's acclaimed mini-series `Band of Brothers.'
Kevin Spacey
Two-time Oscar winner Kevin Spacey is looking for his first Emmy with this year's nomination for `House of Cards.' This photo shows Spacey back in the early '90s, when he could hang out with his dog and go relatively unnoticed.
Poor Jon Hamm
It seems the `Mad Men' star is always an Emmy nominee, never a winner. Will Sunday be his breakthrough? In 2001, Hamm starred in a few episodes of the NBC drama `Providence.'
Jeff Daniels
Jeff Daniels has earned his first Emmy nomination for `The Newsroom,' in which he plays anchor Will McAvoy. Daniels starred alongside Meryl Streep and Jack Nicholson in 1986's `Heartburn.'
Edie Falco
This is Edie Falco's fourth Emmy nom for her `Nurse Jackie' role. She won in 2010. Falco starred with Peter Greene in `Laws of Gravity' in 1992.
Julia Louis-Dreyfus
Julia Louis-Dreyfus won the lead actress in a comedy Emmy last year for her role as Selina Meyer in `Veep.' She goes for the repeat Sunday. She won the same award for `The New Adventures of Old Christine' in 2006. Don't forget Louis-Dreyfus, right, on the list of former `Saturday Night Live' cast members who went on to bigger success.
Tina Fey
Tina Fey has never won an Emmy for acting. Will she walk away from `30 Rock' as a winner? Fey won an Emmy in 2002 for her writing on `Saturday Night Live.'
Laura Dern
HBO cancelled `Enlightened,' but Laura Dern still has a shot at the Emmy for Outstanding Lead Actress in a Comedy. Dern starred with Kyle MacLachlan in David Lynch's `Blue Velvet' in 1986. The two also dated for a while.
Lena Dunham
Lena Dunham, who was born in 1986, is up against Dern in the lead-actress category. Dunham was nominated for several Emmys last year and three more this year for her HBO series, `Girls.' OK, so the young Dunham hasn't changed much since 2006.
Amy Poehler
Including this year, `Parks and Recreation' star Amy Poehler has been Emmy-nominated nine times. She's yet to win. Like Tina Fey, Poehler's big break came on `Saturday Night Live.'


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ELON, N.C. (Apr. 17, 2005) - East Tennessee State extended its winning streak to six games, completing a weekend sweep of Southern Conference rival Elon with a 9-6 victory Sunday afternoon from East Field in Elon, N.C.
Elon hit three home runs in the game as Meredith Miley hit two while Sadie Ball added another. But ETSU's 15 hits, led by senior second baseman Mary Beth Hazelwood's (Knoxville, Tenn.) four, were enough to overcome Elon.
ETSU (23-24, 9-3) got on the board in the top of the first inning. Hazelwood singled to right centerfield to score junior outfielder Janine Sprague (Hillsborough, N.C.) who had reached on a base hit to start the inning. With runners on first and second, sophomore shortstop Stephanie Gaynord (Manassas, Va.) singled up the middle to push Hazelwood and senior third baseman Lindsay Lane (Erwin, Tenn.)across home plate. Freshman first baseman Amanda Haverman (Kirkwood, Mo.) then singled through the left side to score Gaynord and give the Bucs an early 4-0 lead.
Elon (21-23, 5-7) responded with one run in the bottom of the inning when Debbie Zeigler's single to right center scored Paige Goss and cut the lead to three at 4-1.
The Buccaneers put runners on second and third after a single by freshman outfielder Briana Knight (Brier, Wash.) and a double by Sprague to start the second inning. Senior outfielder Dani Spetar (Knoxville, Tenn.) then dropped in a short ball to left field to score Knight. Hazelwood then singled to right field to score Sprague and give ETSU a 6-1 advantage.
Zeigler drove the first pitch of the bottom of the third down the left field line for a double before Miley knocked a home run over the left centerfield fence to cut the lead to three, 6-3. With runners on first and second, Buccaneer junior starter Belinda Barrera (Fayetteville, N.C.) threw two consecutive wild pitches to advance Ball and Tracey Dahlen to second and third and then allow Ball to take home, trimming the Buccaneer lead to two at 6-4.
In the top of the fourth inning, with runners on second and third, Hazelwood singled through the left side to score Sprague. Gaynord then knocked a deep fly ball to center field to score Spetar. Junior catcher Jessica Lonsinger (Dale City, Va.) singled through the left side to score Hazelwood before a threw from the catcher to the second baseman got Lonsinger out at second to end the inning, but not before ETSU took a five run lead, 9-4.
Ball blasted her home run on the first pitch of the bottom half of the fifth inning to put an Elon run on the board and Miley put another ball over the fence on the first pitch of the bottom of the seventh to cut the margin to three at 9-6, but Elon was unable to plate any more runs.
Barrera (9-10) recorded the win for the Buccaneers after throwing five innings in relief. She gave up three runs on five hits and struck out five. Freshman starting pitcher Brittney Lehrschall (Leland, N.C.) pitched two innings and gave up three runs on seven hits. For Elon, Meredith Gay suffered the loss (10-8) after throwing one inning and giving up six runs on seven hits while fanning two batters. Whitney Meeks pitched four innings for the Phoenix and gave up three runs on seven hits while fanning three batters and Megan Borgaard threw two innings, giving up one hit and striking out one.
Miley led Elon from the plate, going three-for-four with three RBI and two runs. Borgaard, Zeigler and Dahlen all recorded two hits each for the Phoenix. Hazelwood was four-for-four from the plate for the Buccaneers with three RBI and two runs. Gaynord also recorded three RBI, going two-for-three while Sprague tallied three hits and three runs and Spetar notched two hits.
The Lady Bucs return to action as they travel to Tennessee Tech on Thursday, April 21 for a 2 p.m. doubleheader.


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While the iOS 7 Gold Master (GM) released on September 10 should be binary-identical to the General Availability (GA) version released today, September 18, some people seem to want the comfort of getting what everyone else in the world is getting. If you're one of them, or if you're stuck on the beta and aren't sure how to get off, here's what you need to do to switch to the official release version:
- Make sure you've updated to iTunes 11.1
- Plug your iPhone, iPad, or iPod touch into iTunes
- Agree to trust the computer if iOS 7 asks
- Backup your device, if you don't want a clean install
- Click "Update" or "Restore"
- Let iTunes download and re-install iOS 7 on your device
If iTunes says there's no newer version to update to, you can force the issue by putting your iPhone, iPad, or iPod touch into DFU mode after the backup, then doing the restore. DFU (Device Firmware Update) mode will make sure you download and install the latest release version of iOS off of Apple's servers.
If you have any questions, or have any clever tips to share with us, leave them below!