Author Archive: Eric Fritzius

Owner/operator of Mister Herman's Publishing Company and Mister Herman's Production Company, Ltd. Author of A Consternation of Monsters, available in print, ebook, and audiobook formats.

TARDIS Collector’s Corner: The Eaglemoss TARDIS Special Edition Figurine

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

 

There are a few white whales out there in terms of TARDISes that are not in my TARDIS collection.  Some of these, such as either of the hand-made polystone TARDIS “diorama” models by Big Chief Studios, are pretty damn pale in terms of white whales.  They seem like gigantic, 20″ high versions of my beloved Electronic Flight Control TARDIS, complete with lights and sound, but with a huge boost in quality.  And as much as I would love one, the reason I’ve not bought one is because they are just stupid expensive even at base retail price, going for between $250 and $400 depending on the retailer.  I buy one of those and my wife will probably see it as grounds for divorce.

However, there are other TARDIS models and toys that were well below the Big Studios threshold when they were first offered for sale, but which, once out-of-stock, became rare and saw their price triple.  One such specimen is the TARDIS Special Edition Figurine released by the Eaglemoss model company.

For those not in the know, Eaglemoss is a company that specializes in spaceship models and sculpted figurines of pop culture characters, usually cast in metal.  They have figurine lines for Star Trek, DC Comics, Marvel Comics, The Walking Dead, and others, but have spent most of the last decade producing a line of Doctor Who figurines as well.  And the fact that I don’t own any of the figurines from this line is pretty much down to marriage preservation, too, for each of the Doctors originally retail for $17.95, making a 12 Doctor set cost-prohibitive unless purchased in the $35 four-pack sets, and even then… really?

Eaglemoss made a TARDIS, though, which is a white whale that’s been singing a siren call to me for several years.  It originally retailed for $35, which seemed not unreasonable to me.  Trouble was, shipping was another $15 on top of that, which I could not justify.  Of course, they usually offer free shipping on orders of $60 or more, but that meant having to buy two of them, or finding some other stuff to order with it and before you know it I had well over $100 of stuff in my cart when all I really wanted was one stinkin’ TARDIS and I’d get fed up and walk away.  After, let’s say, two years of doing this, the Eaglemoss TARDIS went out-of-stock.  And even though they have a little box where you can leave your email in case they re-stock, they are not known for actually re-stocking what was the whole time intended to be an individually numbered limited print run, so that’s not happening.  I soon began seeing my former $45 TARDIS for sale on eBay for upwards of $100.  And when it was anywhere under $50, it was always a seller in England and they tacked on another $40 for shipping to the U.S.–which was never gonna happen on my watch.   I sadly resolved myself to the likelihood that the Eaglemoss TARDIS, much like the Electronic 4th Doctor TARDIS set from 2010, was a whale that had slipped my clutches, escaping into the vast sea of prohibitively priced merchandise.  I mean, it didn’t stop me from setting up a saved search for it, though, since you never could tell when one might find an auction for one at a reasonable price point.  This never seemed to happen, though.

Then, last month, something even more unlikely than a cheap auction happened.  I received an email ebay search report that someone had posted a new listing for an Eaglemoss TARDIS for $25 and with free shipping and it was BUY IT NOW!!!!  And I happened to be looking at gmail on my phone when the listing hit, so I couldn’t load my eBay app fast enough.  The whole time, though, I kept thinking that there must be something wrong with it for it to be listed for such a low price.  Surely it had been dropped, or gnawed by a dog at the least to go for only $25.  The listing indicated nothing of the sort, though, so I fired my whale spear and it struck home in white TARDIS flesh.  (This metaphor is really getting strange.)

A few days later, my new Eaglemoss TARDIS arrived and was something of a surprise, mainly because it was three times bigger than I expected it to be.  The Eaglemoss figurines I’ve seen and owned are around three inches in height, so I assumed somehow that the TARDIS would be as well.  Nope.  It’s to scale with the Doctor figurines, so it’s a full five inches from the base to the bottom of the roof lamp.  The other surprise was the material it was made of.  While I don’t own any other Doctor Who Eaglemoss figurines, I do own a Starman and an Ambush Bug from the DC line; they’re both cast from metal, so I expected the TARDIS would be metal as well (hence the huge shipping costs for most folks).  The TARDIS, however, is cast with some sort of resin.  I imagine a TARDIS of this size cast in pewter would probably weight at least five pounds, so it’s probably for the best.  I’d say this thing is still a solid 2 pounds.

As far as TARDISes go, it’s mostly decent.  The sculpting is nice, though there is no wood grain, but I’m okay with that.  Where it kind of misses the mark for me is in the detail work of the painting.  The windows are especially sloppy, with the gray paint of the frames occasionally splashing up onto the blue of the exterior TARDIS walls or onto the white of the “glass” panes. It looks like it was painted by a fairly skilled 10-year-old.  The sloppiness extends to the painting of the roof lamp.  Also, the decal for the door sign was applied skewed to the left side of the phone-cabinet instead of centered properly. Again, it looks like a skilled 10-year-old might have done it, so, again, I’m going to blame child labor.

Despite these complaints, though, it’s still a nice piece that I’m proud to have in my collection.  And a white whale hunted and killed and flensed and turned into 19th century lamp oil.  I give it 3.5 TARDI. 

Sightings & Appearances

Eric is making signing and speaking appearances to promote A Consternation of Monsters.  (He also occasionally does some acting.) You’ll find those appearances and roles here.

May 18-19, 2018 — Eric is the director for the 2018 Opera House PlayFest at the Pocahontas County Opera House in Marlinton, W.Va.  Featured plays will include “Petting Zoo Story” by Jason Half, “Daughters These Days” by T.K. Lee, “Beans and Franks Never Tasted So Good” by Jon Joy, “A Game of Twenty…” by Eric himself, “Riding Lessons” by Brett Hursey, and “Bankin’ on the Grand” by Chris Shaw Swanson.  Featured actors will include Chris Curry, John C. Davis, Eric Fritzius, Janet Ghigo, Charlie Maghee Hughes, Kim King, Jay Miller, Bill Mitchell, Joanna Murdock, Rhonda Pritt, and Shenda Smith.  Tickets will be available at the door.

He finally has his answers.

I would be remiss if I didn’t take a moment to write about the passing of Art Bell, purveyor of strange ideas and the poser of questions concerning all manner of mysteries of the universe.  He was for many years the host of Coast to Coast A.M., one of the most successful radio programs of the last half century.  Art’s was a fantastic and fascinating format, as he basically just opened the phone lines to anyone who wanted to call about whatever topic he was covering in a given night.  Ghost stories?  He took `em.  UFO sightings? He wanted to hear about `em.  Were you a time traveler?  Give Art a call if you were in the same year.  He might not believe you, but he’d let you tell your story.

I wish I could say I grew up listening to Art Bell, but if a radio station in my area of Mississippi broadcast his show I was unaware of it.  I learned of him in the late `90s while working as a radio DJ myself in Tupelo, Mississippi.  I can’t recall for sure how I came to know of him, but likely from one of the various conspiracy, UFO, or cryptozooloigic websites I was a fan of in the day.  I know for a fact that I had read a creepy story or to featuring his show in an encyclopedia of Fortean topics I owned at the time (but which has mysteriously disappeared from my shelf now).  He was a fascinating figure, even if I couldn’t hear him on a regular basis.  I was able to download clips of his shows from his website, but streaming was an odd creature in the late 90s.  And then, in 1998, just as I was learning of Art to begin with, he retired under mysterious circumstances.  It was to be the first of many such retirements, almost all of which didn’t take for very long.  Art was soon back on the air.

When I moved to North Carolina in 1999, Coast to Coast was broadcast by one of the sister stations to the one I worked for in Charlotte.  And during the two months or so I did an overnight shift there, I often found myself switching over to the AM feed and listening to Art in real time, rather than downloads days later.  It was always entertaining.  However, my thankful departure from that shift and Art’s various other premature retirements kept me from regularly hearing him much after that.

Bell is, of course, the inspiration for my fictional character of radio host Rik Winston and his UFO All Night program, who is referenced in my short story “…to a Flame.”  (You can read more about that story in the Moths & Men blog series elsewhere on this site.)  In the story, one of the characters, Virgil–loyal Rik Winston listener–tells the tale about a “doctor guy” who calls in to Rik’s show following an alien encounter.  This was inspired by a real series of calls to Art Bell’s Coast to Coast AM from the 1990s. The real story turned out to be a complete hoax, of course, which the “doctor” guy eventually admitted on Art’s show.  However, this hasn’t stopped that guy from trying to make money off of it to this day.  (UFOWatchdog has more about the real story and the “doctor’s” actual identity HERE.)

While Rik is also the “author” of the foreword to A Consternation of Monsters.  But he’s only turned up in one short story, so far.  However, he’s been referenced and even makes an audio appearance in three of my short plays.  I call them  the Ellipses Cycle, as they all have titles featuring ellipses and are thematically tied together by their strange and unusual (and often West Virginia-related) subject matter.  They also all mention Rik Winston.  They include the stage adaptation of “…to a Flame,” the inspired-by-a-true-story African lion adventure “…and Tigers and Bears,” and a third play set in the waiting room of eternity called “A Game of Twenty…”  It’s a story about a guy who finally gets to ask for answers to all the questions about strange and unusual things he has wondered about.  Naturally, he loves every single answer he gets.  That play has been produced for Greenbrier Valley Theatre as well as a staged reading at the 2016 West Virginia Playwright’s Festival.  And, in May, it will again be performed as part of the Opera House PlayFest 2018.

I’ll have to dedicate it to Art Bell.  Hopefully now, the man has all the answers.  But here’s hoping it’s another early retirement.

TARDIS Collector’s Corner: TARDIS Rotating LED Cell Phone Charm (The Shotglass TARDIS series)

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

The very smallest of the shotglass TARDISes in my collection is the TARDIS Rotating LED Cell Phone Charm.  It’s a tiny tiny TARDIS encased in a plastic bell jar dome that screws onto a plastic base bearing the Doctor Who logo used during the David Tennant era of the show.  While mine hangs in my car from my rear view mirror, the device is meant to attach to a cell phone.  The base has sensors within it that can detect incoming cell signals which activate the device to cause the TARDIS within the dome to spin and LED lights in the base to flash, signaling you that you have texts or calls when your phone is on silent mode.  Sounds mildly handy, no?  Turns out, not so much–at least in the way that I used the device.

The first time my TARDIS charm ever activated was at night, as I was driving home.  There I was, driving down the straightish stretch of highway near my house, preparing to turn onto the lane that leads to my neighborhood, when unexpectedly I am blasted at eye level by flashing blue lights seemingly from somewhere on the road ahead.  In that instant my brain became convinced that, at worst, I was about to be t-boned by a police cruiser coming out of the neighborhood to my right; or, at best, said police cruiser was not in motion but had turned on the blues in order to pull me over for some unknown infraction.  It was startling and I screamed aloud, much like a little girl. Then I heard my cell buzzing and realized what was going on and felt the kind of shame one only feels when startled by tiny sparkly lights. And this happened on more than one occasion as the days went by.  I also learned that the effect wasn’t that much less startling during daylight hours.

Fortunately, the batteries in this device didn’t last very long, no doubt owing to it having sat in on a shelf and/or in a warehouse for years before I purchased it.  I have yet to replace them, nor are their any plans in place to do so.

As far as TARDISes go, I cut this one a lot of slack on the detail side because it’s so tiny.  It also gets extra points for looking cool under the dome.  It’s almost like the Master was able to somehow use his Tissue Compression Eliminator on it to finally trap it in some sort of time-travel-proof bell jar.  It’s a novelty item with a lot of novelty.  I’ll give it four Tardi.

TARDIS Collector’s Corner: Die Cast TARDIS Keychain (The shotglass TARDIS series)

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

The die cast TARDIS keychain was the first TARDIS keychain I purchased and I like it a lot.

As a TARDIS it’s a lovely representation of the Pertwee/Baker era flat-roofed, dark door-signed TARDIS, though this one has a much better paint job than the TARDIS of that era ever did.  (Not a chip to be seen.)  It’s also pretty well in scale with the modern era TARDIS keychain, showing the size differential between the two models, even though they’re made of entirely different materials.

As a keychain I think this would function pretty well, too, as the metal die-cast nature gives it a satisfying weight and sturdiness to withstand the wear and tear keychains often go through.  As with all my other TARDIS keychains, I ditched the chain early on.  But I have kept the ring, which pokes from the top of the roof lamp itself, in case I ever want to use it for another purpose.  It could make a nifty ceiling fan or lamp chain pull, for instance, though is probably too heavy for, say, an earring.

TARDIS Collector’s Corner: Hornby Skaledale Blue Police Box TARDIS (The shotglass TARDIS series)

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

This “shotglass” TARDIS used to be the smallest TARDIS I owned, and was for a few years.  This particular police box was made by the Hornby company (R8696 Skaledale Blue Police Box 1/76 Scale) and is meant to be scenery for a model railroad setup.  As such, it’s more to the specs of an actual police call box than it is to the various props from Doctor Who.  You can find them online, often on ebay, though they’re starting to get more expensive than the one I bought.  (I seem to recall it being fairly cheap when I bought mine, under $10.  The ones on ebay now start at nearly $30 before shipping, which is a lot to pay for a chunk of painted resin in my book.

For most of the years I’ve owned the Hornby it’s been on display atop an upside down clear Listerine measuring cup–which is the same size as a shot glass, hence the name “shotglass” TARDIS.  And while it was the smallest TARDIS in my collection for some time, that honor has gone to another for the past four years or so.

TARDIS Collector’s Corner: Funko POP! Vinyl’s TARDIS Keychain (The “shotglass” TARDIS series)

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

This is Funko POP! Vinyl’s version of a TARDIS keychain.  It’s meant to be a miniature version of their TARDIS POP! Vinyl Toy, albeit one without working doors.  (Or, rather, door, but that’s a complaint for the future.)  For those unfamiliar with the plague that is Funko POP! Vinyl, the toys are primarily figurines of pop culture characters with disproportionately large heads and black circles for eyes.  The figures are usually about four inches in height, but Funko made a series of keychain models that shrunk them down to around an inch and the TARDIS is just a smidge over that (unlike the larger toy version, which is nearly half again as tall as the figures).

I call POP! Vinyl figures a plague because, while I own around ten of them myself (of the Doctor Who, MST3k, and Portal 2 varieties) I don’t give the ass of a flying monkey about 90 percent of their output and kind of resent the fact that there are now layers of them under foot in all nerd/videogame/movie/music stores, where they glut entire walls.  I weep for our landfills.

Like all the other TARDIS keychains, I ditched its chain as soon as I was able to. It’s super-blocky size would make it inconveniently large to use as a keychain, though I must note that Funko’s choice of a rubbery plastic for the production would lend itself to durability.  (At least for the TARDIS, as most people I know who have bought and used any of the figure-model keychains quickly find they have nothing left but decapitated character heads dangling from their keys after the bodies snap off.)

Much like its larger counterpart, there’s not a lot of detail on this thing.  But that’s the POP! Vinyl aesthetic to start with, so one cannot complain about the lack of woodgrain or the fact that it’s super chunky.  (It’s so chunky, in fact, that I’m not sure it would actually fit very far into a standard shot glass.)  I t’s fine.  I’ll give it a full four TARDi and save the tale of the larger model for another time.

Save Dirk Gently!

Over the weekend, I finally finished the second season of Dirk Gently’s Holistic Detective Agency, which has gathered in my DVR. While the season felt like it took a while to get going, I truly enjoyed where it went and, more importantly, the strange places each of the characters wound up.

Much like season 1, it was a fun journey with lots of twists and turns and some truly great characters both old and new. I’m a sucker for a story with a good family dynamic and this develops multiple ones. And, much like Douglas Adams novels, it does a great deal of world building along the way with some pretty cosmic concepts that look like they would have continued into season 3 had BBC America not cancelled the show.

Not since Firefly have I wanted a show to continue so much only to have it snatched away.  (The fact that Alan Tudyk is in both shows is also not lost on me, as his character of Mr. Priest is now one of my favorite over-skilled, overzealous government badguys ever.)  Maybe this is down to me being such a Douglas Adams fan that I would want one of his creations to continue its life.  However, I suspect the real attraction here is  mostly down to the quality of what the cast and creators of this show put together.  The books are great, mind you.  But Dirk, as depicted in the show, is not precisely in line with the Dirk of the books–who is far less personable than Samuel Barnett’s charming portrayal.  It’s quite possible that the Dirk of the books might be unsustainable as a character people would want to root for–which may also explain that while he’s the central character of the books, they’re both told from the perspective of another character looking on.  Barnett’s Dirk, however, is just a chipper champion of the universe, even if he doesn’t know why.  And while the show isn’t an adaptation of the source material anyway–which it seems to mostly treat as backstory–I firmly believe Douglas Adams would have been on board with what they’ve done 100 percent. It’s VERY Douglas Adamsy. And I can’t believe he would not have found the concept of a Holistic Assassin (Fionna Douriff’s character Bart, who is simply amazing) one he would have wished he’d thought of himself.

A quick search for “Bring Back Dirk Gently” took me to a Change.org petition. Dunno what good it can ultimately do, but it’s at least a way to voice an opinion. If you’re of a mind to voice yours, I invite you to do so and perhaps to tweet about it as well. #bbcamerica #SaveDirkGently

TARDIS Collector’s Corner: Underground Toys Keychain TARDIS (The “shotglass” TARDIS series)

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

The newest TARDIS in my collection is also one of (though not the) smallest. It’s one of three keychain TARDI that I now own and is one of my favorite among the three. (You can actually see all three, plus another, in the accompanying image, but we’ll get to the others later.)

These “shotglass” TARDI are so called by me because each of them could fit into a standard shot glass (though not any of the standard shot glasses that I happen to own, which are all either opaque or super tall and narrow–hence their inclusion atop a stack of CDs for scale).

The new TARDIS keychain is one made by Underground Toys.  It’s of the Matt Smith/Peter Capaldi TARDIS model.  It’s a hollow shell made from a very light weight plastic, but the sculpting on it is really nice.  No woodgrain, but I’m not complaining because it just looks like a tiny replica of the TARDIS USB hub sculpt.  Alternately, you could use it as the miniature TARDIS that appeared in the great episode “Flatline” from two seasons back, cause it’s about the correct scale when compared with one of the Flight Control TARDIS models. (Though you’d probably have to use it on the Matt Smith FC TARDIS, cause the blacked out windows won’t look right otherwise.)  The keychain model is beautifully made, though.

As far as its ability to be used as an actual keychain, though, I don’t know that I could recommend it for use in that capacity.  I am pretty sure the light and airy nature of this model would never be able to stand up to the kind of beating it would take in my pocket.  (The wife uses a pewter Serenity keychain that has already started to lose its fine detail.  And she only has, like, one key.  This plastic TARDIS wouldn’t last a week with all my keys.)   Since I’ll never use it as a keychain, I pulled the chain off it as soon as I got it out of the package, leaving a small metal ring located just behind the roof lamp which I’ll eventually snip off.  I’d like to give it four full TARDi, or maybe even 4.5, cause it really does look nice.  However, because I think it would truly suck when in use as its labeled function, I’m going to go 3.5.

TARDIS Collector’s Corner: The 12th Doctors’ Flight Control TARDIS (Burning Through The TARDi, Part 3)

(An ongoing writing project in which I catalog and quantify my extensive TARDIS collection.) 

CONTINUING THE TALE FROM PART 1 and PART 2

Underground Toys, thankfully, wasn’t done with their 5.5″ line, but they also weren’t done making frustrating choices with it.

Oh, sure, they still put out some classic ’80s figures in that scale, such as new versions of the 8th Doctor and the War Doctor, to reflect their appearance in Night of the Doctor and Day of the Doctor.  And after Peter Capaldi was cast as the 12th Doctor, they quickly released a 5.5″ figure for him.  Except, it wasn’t Peter Capaldi in his actual Doctor Who costume (the black coat with red-lining and all), but was instead the post-regeneration Capaldi wearing Matt Smith’s final, pre-regeneration, purple-coated costume from the Name of the Doctor Christmas Special.  It still looked great, cause the purple coat was a look that worked well, but it was still very annoying since it wasn’t Capaldi’s official costume.  This meant that folks like me who had previously bought the 11 Doctors figure set, and who have them on display on a shelf by their desk, could not really add the 12th in there cause he just didn’t look right.  Or, we could add the 3.75″ Capaldi figure in the proper costume and have him out-of-scale from all the others.  However, for quite some time, these were the only Peter Capaldi figures to choose from.

Around that time, 2015 or so, I began paying attention to a Facebook page called Save Doctor Who 5 Inch Figures in the hope for word on an eventual properly costumed Capaldi who could join the ranks on my shelf.  The site had, in fact, floated a rumor that such a fig was in the works.  And this page was also where I first heard Underground Toys/Character Options were working on a 12th Doctor Flight Control TARDIS for the 5.5″ scale line.  Supposedly, the rumor went, the new TARDIS would not only be in a truer blue to the new TARDIS prop, but would also be returning all of the functionality of my beloved 10th Doctor TARDIS with one major change–it would come with a lighted door sign.  Turns out these rumors were all true.

On the thorny topic of the lighted door sign…

See somewhere during Matt Smith’s run (I think it was during The Doctor, The Widow and The Wardrobe that I first noticed it) the TARDIS developed a light up door sign.  And by door sign, I mean the instructional sign on the left hand door, which actually serves as a smaller cabinet door behind which is the direct-to-police telephone unit which puts the “call” in “call box.”  The text of the sign begins “Police Telephone Free For Use of Public…” and ends with “PULL TO OPEN.”  For some half-assed reason–I expect just cause it looks sort of cool–the TARDIS on the show began backlighting that sign, as if it were made from semi-transparent plastic.  It wasn’t lit all the time, but in most night shots they turned it on.  And, y’know, the TARDIS can do what it wants, I guess, but I just never saw the logic of it.  Certainly the original police call boxes which inspired the look of the TARDIS never had this feature.  While I was and remain critical of the addition, at the exact same time, I have to sort of admit that it did look pretty cool in those night shots.  It just helped make the TARDIS read as being more TARDISy on a graphic-design level.  You could instantly recognize it from its silhouette, lighted windows, above door signage and now stupid door sign, and didn’t require the entire front be lit from any separate light source.  A toy that did the same thing, I supposed, would be interesting, even if I still thought it was essentially of questionable worth.  It would also mean that such a TARDIS toy would be the most functional TARDIS yet.

Low and behold the rumored figures and TARDIS were released and–shockingly I know–I bought `em.

And this is where Underground Toys’ continued making of frustrating choices comes back into play.  Cause the thing is… while I am delighted that they were kind enough to produce another TARDIS and restore the features of the 10th Doctor’s Flight Control TARDIS, the end results did not quite match up to the wondrous thing that existed in my head.  (Again, I’m ruled by my inner 4th grader who had vivid dreams.)

Yes, all the light and sound functions of the 10th’s TARDIS were restored, as well as the addition of the dumb/cool door sign.  But–and this is pure speculation on my part–Underground Toys was probably able to afford to do all this by skimping in other areas to make up the cost.  My theory, based solely of the evidence of the thing itself, is that they wound up skimping on the quality of the plastic used in its construction.

Like the Tennant TARDIS, the Capaldi TARDIS has lights inside that illuminate the windows, the interior area, and the Police signs above each wall.  But the plastic for the roof and doors is so thin that you can completely see the light bleeding through it from within (as illustrated in the image at right).  Even in daylight conditions, this bleed can be seen all along the edge where the doors meet.  This might have been better concealed with a layer of paint, but this model (unlike the 10th’s) is unpainted.  Now this unpaintedness is nothing new, as the blue sections of all subsequent models were also unpainted.  It’s just that this time it hurts the overall design.  I’m of half a mind to add a coat of blue myself to see if it helps.

The other irritating thing, which was not true of the Tennant model, is that the windows themselves, when illuminated from within, allow something of a view of the inner workings of the toy behind the curve of the screened interior card.  The Tennant model’s windows were more opaque while the new Capaldi TARDIS has relatively clear windows.  Through them, you can clearly see the back of the interior card itself and even the backs of adjacent windows.  The other difference that affects this is that the light on the interior underside of the roof is a good deal brighter than that of the Tennant TARDIS, possibly so that it will be able to illuminate not only the windows and CALL BOX signs, but the door sign as well.  The roof lamp is also brighter and the light bleeds through the paint of its cap.  Further adding to the frustrating nature of this toy, the plastic POLICE PUBLIC CALL BOX signs do not quite fit snugly within their frames, allowing light from within to bleed over the tops and bottoms of them.

As for the dumb door sign… it lights up.  yay.  But in doing so it has now lost its function as a cover for the phone.  Not that I mind this so much, because the phones can make the left door difficult to open, depending on their design.  But having a phone there was a key plot point during Capaldi’s first episode.  Granted, it isn’t as if I was planning to recreate that moment, but it’s nice to have the option.

It’s a poor thing to complain about the flaws in something that is so basically cool.  The 4th Grader in me would have LOOOOOOVED to have owned this.  (He would also wonder why it is blue when the poor color of his 10 inch Zenith television had led him to believe it green for most of his school years, but that’s another story for another time, if I’ve not told it already.)  It’s just that Underground Toys came SO close to getting it right.  It pains me to do so, but I’m going to give this a 3.5 TARDI rating.

I look forward greatly to Jodie Whitaker’s run as the Doctor.  The media shot that has been released of her costume and TARDIS gives me hope, because it returns the TARDIS to the dingy greeny blue of the ’70s and restores the dark, non-glowy door sign, yet keeps the illuminated call box signs and windows.  Seems ripe for a toy that hearkens back to Tennant’s toy in many respects.