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Disney Is Doing the World a Favor by Not Letting You See That ‘Doctor Who’ Spinoff Yet

Disney Is Doing the World a Favor by Not Letting You See That ‘Doctor Who’ Spinoff Yet

When we took a look at the opening episodes of the new Doctor Who spinoff The War Between the Land and the Sea a few weeks ago, there were a few nuggets of potential swimming beneath its otherwise largely murky surface. But now that the show has come to an end, we know for a fact: that potential is dead and buried and has only sunk further into the depths the longer the show went on.

The remaining three episodes of War Between, after its premiere spent a great deal of time playing up the political relationship between the revived Sea Devils—reborn as “Homo Aqua”—and humanity, spending their time squandering the distinctly unsubtle, yet still intriguing, climate change messaging that sat at that plot’s core in order to focus on establishing a rapidly burgeoning romantic relationship between Salt (Gugu Mbatha-Raw) and Barclay (Russell Tovey).

Sparked by the former saving the latter after a diplomatic mission to Homo Aqua’s territory beneath the waves was disrupted by a double agent unleashing a bomb to kill the human and aquakind attendees alike, in spite of Mbatha-Raw and Tovey’s chemistry, the romance that suddenly becomes the primary driving subject of War Between comes off as a Great Value Shape of Water. Barclay’s infatuation with Salt above anything else is not really given any time to develop, putting him on an instantaneous 0-100 escalation, but it’s Salt who suffers the most ignominies in the process, no longer presented as Barclay’s political equal and the advocate of War Between‘s most radicalized notions of the climate crisis, and instead flattened into a walking embodiment of the “born sexy yesterday” trope, thematically and narratively taken out of the picture for much of the show’s middle act once Barclay rescues her from UNIT detention.

War Between Land And Sea Barclay Salt
© BBC/Disney

This jarring pivot in focus is broadly emblematic of War Between‘s most damning of issues: the series simply cannot commit, from moment to moment, on every level, to an idea of what it wants to be or say, rendering it completely inconsequential from both a thematic point of view and a narratively logistical one in its broader place in the Doctor Who universe. In some ways, this was a poison pill baked into the show’s very premise—more often than not, a Doctor Who story about the Doctor’s absence ultimately has to result in very little impact outside of that particular story, both because it calls into question what it takes for the Doctor to involve themself in a given crisis and because it calls into question just how much a spinoff series can feel supposedly “mandatory” to Doctor Who‘s status quo going forward.

The War Between could never deliver on the idea of aqua and humankind negotiating an amicable, symbiotic approach to their shared existence on earth, because it would shunt Doctor Who‘s depiction of the “real” Earth a step even further beyond our own reality. But instead of playing within that tight constraint to tell a contained but still interesting story, War Between tried to go big, only to be unable to deliver on that scale in a satisfactory way, abandoning anything that gave it weight as it hobbled towards a muddled end.

Multiple times in the series, both sides declare to each other that the titular war is coming, that it’s here, that it’s over, but we never really get to see that conflict, because Homo Aqua, after raising uncomfortably true concerns about humanity’s role in climate change, has to be first rendered unforgivably villainous—which is done in the bizarre opening sequence of the final episode that depicts a retaliatory act by Homo Aqua summoning, capturing, and eating every dog on the planet, a scenario that is raised within a matter of minutes and then never touched again—and then effectively eliminated as an ongoing concern, done so via an ill-explained engineered virus, dubbed “Severance,” that ultimately kills all but 10% of aquakind as quickly as it’s introduced in the back half of the show’s final episode.

War Between Land And Sea Barclay Kate
© BBC/Disney

Humanity’s explicit genocide of Homo Aqua would be a fascinatingly dark point to end the show on, but War Between doesn’t actually care. The extermination and capitulation of Homo Aqua are executed and resolved in the back half of the show’s final episode, giving War Between very little time to have its human players wrestle with the moral cost of what it’s done (a few brief, awkwardly inserted flashforwards imply that what remains of Homo Aqua will get its comeuppance on the direct individuals responsible for Severance’s deployment, but that’s about it). Instead, it continues to focus on Barclay and Salt, the former rewarded for his allyship with what is now a minority species by being slowly transformed into an aquakind/human hybrid, the sole person allowed to live among the remnants of Homo Aqua at the expense of leaving his human life behind.

This lack of care extends across all of War Between‘s narrative threads. The impact of Homo Aqua’s radical attempts to shift humanity into action are dropped as quickly as they’re introduced. Episode two climaxes with Salt dumping every piece of water-bound waste onto land, effectively burying the planet in rubbish and severely disrupting the logistical bedrocks of society, but by episode five, that issue has been cleaned up in the background, never to be touched again. The series’ continued failure to interrogate UNIT’s role as an organization that is seemingly gleefully obsessed with weaponizing a surveillance state only compounds the issues raised by series co-creator Pete McTighe in his 2025 Doctor Who episode “Lucky Day,” climaxing not with a self-reckoning, but with Kate Lethbridge-Stewart threatening her private therapist with the exposure of her husband’s infidelity (why does UNIT have access to that kind of individual surveillance? The show doesn’t care; it’s just cool hero spy stuff) if she doesn’t let her keep having a role in the ongoing negotiations, a win for our hero, and by the show’s end, it’s consistent enough that Kate just starts threatening gross invasions of privacy as a jokey aside.

It’s Kate that War Between actually ends on, in a truly bizarre scene that is emblematic of War Between‘s incomprehensible idea of tone or message. Having seen off Barclay and Salt to live their new underwater life together, she comes across a runner on the beach who casually tosses his water bottle as litter beside her. The final shots of War Between—the final shots of Doctor Who‘s Disney era, the final shots of the franchise until this time next year—have an increasingly angry and manic Kate pull her gun on the runner, repeatedly screaming that he pick up the bottle as her finger inches closer to the trigger.

War Between Land And Sea Kate Gun
© BBC/Disney

Tonally it immediately follows up an extended, dialogueless sequence of Barclay and Salt’s reunion set to a Goldfrapp cover of David Bowie’s “Heroes,” so it’d be almost funny if the show wasn’t suddenly trying to treat it as a serious, dark moment. It’s a bizarre end note on Kate’s character (for now, at least), introduced 13 years ago as the level-headed, “science leads” future stepping away from UNIT’s militarized past. But it’s also the literal last minutes of the show suddenly lurching back to an idea it had broadly abandoned for most of its runtime, as if it finally remembered that it once yearned to be a show that actually had a point to make, and that by addressing it in its dying gasps, the journey to get there meant something.

It’s a symbolic note for Doctor Who‘s awful year to go out on, reflecting the end of an era that had so much promise and potential when it began just two years ago only to get bogged down in an aimless malaise that muddled the series’ ability to really commit to commentary and reflection of the world we live in through its sci-fi lens. It’s fitting, perhaps then, that the less-than-amicable breakup between Disney and the BBC has resulted in much of the world not legally being able to see War Between until some nebulous point next year, when it’ll likely be dropped in its entirety with little in the way of fanfare: a show with nothing to say, buried in the deep to never be thought of again.

The War Between the Land and the Sea is now streaming in its entirety in the UK on BBC iPlayer. The series will stream on Disney+ internationally some time in 2026.

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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#Disney #World #Favor #Letting #Doctor #Spinoff

X is overhauling how it pays creators, phasing out its long-running Revenue Sharing program in favor of a new system called the Original Content Rewards Program.

The platform’s Creators account announced the change in a post, saying the program is meant to “reward creators who bring original ideas, expertise, reporting, creativity, and commentary to X.”

According to the announcement, X stopped accepting new Revenue Sharing enrollments immediately and will wind the program down entirely after Sept. 7. Creators currently enrolled will receive three final payouts — two on the standard schedule in mid- and late August, and a final payment around Sept. 11 covering earnings through the cutoff date. Starting Sept. 8, existing Revenue Sharing members can apply for the new program if they meet its eligibility requirements, the company said.

Per X’s announcement, the new program ties earnings to “qualified impressions” a creator’s original content receives, rather than the advertising-revenue split that defined the old system. Qualified impressions must come from unique, verified Premium subscribers viewing at least half of a post on the Home Timeline; impressions that are duplicated, paid, promoted, or fraudulent don’t count.

To qualify, X says creators must be at least 18, live in an eligible country, hold a Personal or Business account in good standing, subscribe to a paid X tier, and have at least 500 verified followers, along with 500,000 Home Timeline impressions from verified users over the prior 90 days. Those requirements must be maintained continuously to keep receiving payouts, according to the announcement.

X’s guidelines lean heavily on defining what counts as “original.” Per the company’s post, content that is copied, reuploaded without authorship, generated through automated means, or reposted with only minor edits — such as captions, watermarks, or basic text overlays — won’t qualify. Users can earn from reposting others’ material only if they add substantive commentary, analysis, or creative editing. So, simply describing what’s already happening in a post doesn’t meet the bar.

As noted in Engadget’s report on the news, X adjusted its Revenue Sharing formula in March to weight engagement more heavily toward a creator’s home region. That shift, they wrote, likely followed revelations that a number of popular accounts posting pro-Trump content and US-focused commentary were not actually based in the United States.

Whether the new Original Content Rewards Program carries over a similar regional weighting is not yet clear.

#retires #revenue #sharing #Original #Content #Rewards #program">X retires revenue sharing for new ‘Original Content Rewards’ program
                                                            X is overhauling how it pays creators, phasing out its long-running Revenue Sharing program in favor of a new system called the Original Content Rewards Program. The platform’s Creators account announced the change in a post, saying the program is meant to “reward creators who bring original ideas, expertise, reporting, creativity, and commentary to X.”According to the announcement, X stopped accepting new Revenue Sharing enrollments immediately and will wind the program down entirely after Sept. 7. Creators currently enrolled will receive three final payouts — two on the standard schedule in mid- and late August, and a final payment around Sept. 11 covering earnings through the cutoff date. Starting Sept. 8, existing Revenue Sharing members can apply for the new program if they meet its eligibility requirements, the company said.

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Per X’s announcement, the new program ties earnings to “qualified impressions” a creator’s original content receives, rather than the advertising-revenue split that defined the old system. Qualified impressions must come from unique, verified Premium subscribers viewing at least half of a post on the Home Timeline; impressions that are duplicated, paid, promoted, or fraudulent don’t count.
        
            Mashable Light Speed
        
        
    
To qualify, X says creators must be at least 18, live in an eligible country, hold a Personal or Business account in good standing, subscribe to a paid X tier, and have at least 500 verified followers, along with 500,000 Home Timeline impressions from verified users over the prior 90 days. Those requirements must be maintained continuously to keep receiving payouts, according to the announcement.X’s guidelines lean heavily on defining what counts as “original.” Per the company’s post, content that is copied, reuploaded without authorship, generated through automated means, or reposted with only minor edits — such as captions, watermarks, or basic text overlays — won’t qualify. Users can earn from reposting others’ material only if they add substantive commentary, analysis, or creative editing. So, simply describing what’s already happening in a post doesn’t meet the bar.
As noted in Engadget’s report on the news, X adjusted its Revenue Sharing formula in March to weight engagement more heavily toward a creator’s home region. That shift, they wrote, likely followed revelations that a number of popular accounts posting pro-Trump content and US-focused commentary were not actually based in the United States. Whether the new Original Content Rewards Program carries over a similar regional weighting is not yet clear.

                    
                                            
                            
                        
                                    #retires #revenue #sharing #Original #Content #Rewards #program

announced the change in a post, saying the program is meant to “reward creators who bring original ideas, expertise, reporting, creativity, and commentary to X.”

According to the announcement, X stopped accepting new Revenue Sharing enrollments immediately and will wind the program down entirely after Sept. 7. Creators currently enrolled will receive three final payouts — two on the standard schedule in mid- and late August, and a final payment around Sept. 11 covering earnings through the cutoff date. Starting Sept. 8, existing Revenue Sharing members can apply for the new program if they meet its eligibility requirements, the company said.

Per X’s announcement, the new program ties earnings to “qualified impressions” a creator’s original content receives, rather than the advertising-revenue split that defined the old system. Qualified impressions must come from unique, verified Premium subscribers viewing at least half of a post on the Home Timeline; impressions that are duplicated, paid, promoted, or fraudulent don’t count.

To qualify, X says creators must be at least 18, live in an eligible country, hold a Personal or Business account in good standing, subscribe to a paid X tier, and have at least 500 verified followers, along with 500,000 Home Timeline impressions from verified users over the prior 90 days. Those requirements must be maintained continuously to keep receiving payouts, according to the announcement.

X’s guidelines lean heavily on defining what counts as “original.” Per the company’s post, content that is copied, reuploaded without authorship, generated through automated means, or reposted with only minor edits — such as captions, watermarks, or basic text overlays — won’t qualify. Users can earn from reposting others’ material only if they add substantive commentary, analysis, or creative editing. So, simply describing what’s already happening in a post doesn’t meet the bar.

As noted in Engadget’s report on the news, X adjusted its Revenue Sharing formula in March to weight engagement more heavily toward a creator’s home region. That shift, they wrote, likely followed revelations that a number of popular accounts posting pro-Trump content and US-focused commentary were not actually based in the United States.

Whether the new Original Content Rewards Program carries over a similar regional weighting is not yet clear.

#retires #revenue #sharing #Original #Content #Rewards #program">X retires revenue sharing for new ‘Original Content Rewards’ program

X is overhauling how it pays creators, phasing out its long-running Revenue Sharing program in favor of a new system called the Original Content Rewards Program.

The platform’s Creators account announced the change in a post, saying the program is meant to “reward creators who bring original ideas, expertise, reporting, creativity, and commentary to X.”

According to the announcement, X stopped accepting new Revenue Sharing enrollments immediately and will wind the program down entirely after Sept. 7. Creators currently enrolled will receive three final payouts — two on the standard schedule in mid- and late August, and a final payment around Sept. 11 covering earnings through the cutoff date. Starting Sept. 8, existing Revenue Sharing members can apply for the new program if they meet its eligibility requirements, the company said.

Per X’s announcement, the new program ties earnings to “qualified impressions” a creator’s original content receives, rather than the advertising-revenue split that defined the old system. Qualified impressions must come from unique, verified Premium subscribers viewing at least half of a post on the Home Timeline; impressions that are duplicated, paid, promoted, or fraudulent don’t count.

To qualify, X says creators must be at least 18, live in an eligible country, hold a Personal or Business account in good standing, subscribe to a paid X tier, and have at least 500 verified followers, along with 500,000 Home Timeline impressions from verified users over the prior 90 days. Those requirements must be maintained continuously to keep receiving payouts, according to the announcement.

X’s guidelines lean heavily on defining what counts as “original.” Per the company’s post, content that is copied, reuploaded without authorship, generated through automated means, or reposted with only minor edits — such as captions, watermarks, or basic text overlays — won’t qualify. Users can earn from reposting others’ material only if they add substantive commentary, analysis, or creative editing. So, simply describing what’s already happening in a post doesn’t meet the bar.

As noted in Engadget’s report on the news, X adjusted its Revenue Sharing formula in March to weight engagement more heavily toward a creator’s home region. That shift, they wrote, likely followed revelations that a number of popular accounts posting pro-Trump content and US-focused commentary were not actually based in the United States.

Whether the new Original Content Rewards Program carries over a similar regional weighting is not yet clear.

#retires #revenue #sharing #Original #Content #Rewards #program
Buc-ee’s became something of a viral sensation during the World Cup, but it has a troubling history of suing small gas stations and convenience stores. On a recent episode of Last Week Tonight, John Oliver literally begged the company to sue him for selling merch featuring his squirrel mascot, Mr. Nutterbutter, with branding that reads “Buc-Off.” But Buc-ee’s has so far declined to take the bait, instead targeting yet another small business that lacks the deep pockets and legal team of HBO.

According to WDTN, an NBC affiliate in Miami Valley, Ohio, Buc-ee’s opened its first locations in the state earlier this year. And now it’s targeting established local businesses through trademark suits. Beaver’s Mini Mart in Beavercreek has been a staple of the city for “decades.” But Buc-ee’s is claiming that this long-running store’s beaver logo could confuse customers. WDTN says:

In the suit, filed days ago, Buc-ee’s alleges that the Mini Mart’s cartoon beaver mascot is too similar to their own, with its “wide eyes and a smile” that also “uses red as a predominant color,” and could cause confusion.

Oliver and Mr. Nutterbutter have already fended off one lawsuit, with Bob Murray, a mining executive, having unsuccessfully sued for defamation following a 2017 episode about the coal industry.

#Bucees #dodges #John #Oliver #sue #small #businessBusiness,Culture,Entertainment,Internet Culture,Law,News,Policy,TV Shows">Buc-ee’s dodges John Oliver to sue another small businessBuc-ee’s became something of a viral sensation during the World Cup, but it has a troubling history of suing small gas stations and convenience stores. On a recent episode of Last Week Tonight, John Oliver literally begged the company to sue him for selling merch featuring his squirrel mascot, Mr. Nutterbutter, with branding that reads “Buc-Off.” But Buc-ee’s has so far declined to take the bait, instead targeting yet another small business that lacks the deep pockets and legal team of HBO.According to WDTN, an NBC affiliate in Miami Valley, Ohio, Buc-ee’s opened its first locations in the state earlier this year. And now it’s targeting established local businesses through trademark suits. Beaver’s Mini Mart in Beavercreek has been a staple of the city for “decades.” But Buc-ee’s is claiming that this long-running store’s beaver logo could confuse customers. WDTN says:In the suit, filed days ago, Buc-ee’s alleges that the Mini Mart’s cartoon beaver mascot is too similar to their own, with its “wide eyes and a smile” that also “uses red as a predominant color,” and could cause confusion.Oliver and Mr. Nutterbutter have already fended off one lawsuit, with Bob Murray, a mining executive, having unsuccessfully sued for defamation following a 2017 episode about the coal industry.#Bucees #dodges #John #Oliver #sue #small #businessBusiness,Culture,Entertainment,Internet Culture,Law,News,Policy,TV Shows

viral sensation during the World Cup, but it has a troubling history of suing small gas stations and convenience stores. On a recent episode of Last Week Tonight, John Oliver literally begged the company to sue him for selling merch featuring his squirrel mascot, Mr. Nutterbutter, with branding that reads “Buc-Off.” But Buc-ee’s has so far declined to take the bait, instead targeting yet another small business that lacks the deep pockets and legal team of HBO.

According to WDTN, an NBC affiliate in Miami Valley, Ohio, Buc-ee’s opened its first locations in the state earlier this year. And now it’s targeting established local businesses through trademark suits. Beaver’s Mini Mart in Beavercreek has been a staple of the city for “decades.” But Buc-ee’s is claiming that this long-running store’s beaver logo could confuse customers. WDTN says:

In the suit, filed days ago, Buc-ee’s alleges that the Mini Mart’s cartoon beaver mascot is too similar to their own, with its “wide eyes and a smile” that also “uses red as a predominant color,” and could cause confusion.

Oliver and Mr. Nutterbutter have already fended off one lawsuit, with Bob Murray, a mining executive, having unsuccessfully sued for defamation following a 2017 episode about the coal industry.

#Bucees #dodges #John #Oliver #sue #small #businessBusiness,Culture,Entertainment,Internet Culture,Law,News,Policy,TV Shows">Buc-ee’s dodges John Oliver to sue another small business

Buc-ee’s became something of a viral sensation during the World Cup, but it has a troubling history of suing small gas stations and convenience stores. On a recent episode of Last Week Tonight, John Oliver literally begged the company to sue him for selling merch featuring his squirrel mascot, Mr. Nutterbutter, with branding that reads “Buc-Off.” But Buc-ee’s has so far declined to take the bait, instead targeting yet another small business that lacks the deep pockets and legal team of HBO.

According to WDTN, an NBC affiliate in Miami Valley, Ohio, Buc-ee’s opened its first locations in the state earlier this year. And now it’s targeting established local businesses through trademark suits. Beaver’s Mini Mart in Beavercreek has been a staple of the city for “decades.” But Buc-ee’s is claiming that this long-running store’s beaver logo could confuse customers. WDTN says:

In the suit, filed days ago, Buc-ee’s alleges that the Mini Mart’s cartoon beaver mascot is too similar to their own, with its “wide eyes and a smile” that also “uses red as a predominant color,” and could cause confusion.

Oliver and Mr. Nutterbutter have already fended off one lawsuit, with Bob Murray, a mining executive, having unsuccessfully sued for defamation following a 2017 episode about the coal industry.

#Bucees #dodges #John #Oliver #sue #small #businessBusiness,Culture,Entertainment,Internet Culture,Law,News,Policy,TV Shows

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