The Doctor (12) (twelfth_doctor) wrote in thedoorway, @ 2016-05-02 10:42:00 |
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Entry tags: | !network post, bela talbot, doctor - twelfth, faith lehane, loki laufeyson (616), pam beesly, violet parr |
I meant to post this much earlier, but there were a lot of distractions last month.
Consider how those of us that have been brought through the Tesseract are known solely as entertainment on this planet, from sources stemming from book, film or television, henceforth referred to as ‘stories’, as a generalized term. Not only in this universe, but in other universes upon similar Earth-planets in this range in the Time Stream: I can confirm that in the universe where I’m from, the Earth has Harry Potter, Star Wars and Tolkien that are non-different from the stories presented here, and I have received verification from others, coming from Earth-planets, whom I have interviewed that their experience with these sorts of stories are the same.
The question that came to my mind was how is this possible? To have perfectly identical stores running concurrent with one another in different universes, while simultaneously perfectly reflecting the lives of people in another. Naturally, I wondered, do the lives we lead create these stories in other universes, or do the stories, created by writers and actors, determine how our lives will progress? It boils down to the question of predestination against free will.
To this end, I conducted an investigation to determine the truth. Using the limited resources on hand of this planet, my investigation took me to London, where I met with and spoke to the writers and actors of my program, Doctor Who. While I did not seek to examine other sources of stories in this universe, I firmly believe that one may extrapolate from my study to relate to other people’s stories.
At first contemplation, it seemed highly unlikely that multiple sources from different universes, while identical in nature, would somehow be able to influence a single life in another universe. The law of averages suggest that it is more feasible for the one life to somehow be the inspiration for the multiple stories. But I sought evidence.
I spoke with a few of the actors who played me and my companion, as well as those involved with developing the scripts, questioning them about the creative process they used to generate their ideas. I was also privy to discussions that would determine the future of my program, including concepts for future plots, whether or not the actor who currently portrays me will continue or be replaced by a new one (meaning for me a new regeneration), and the selection of my next companion. During these times, I used my sonic sunglasses to see if it could register a subtle transference of mental energy, either going out of coming in. When the results showed negative, I built a machine that goes ding whose sole purpose was to observe and identify such activity, which I could leave unobtrusively,and secretly running in the room, even whilst I was away, under the hypothesis that perhaps my presence made them nervous and unable to connect to the hive mind of the universe, as it were.
The frustrating conclusion was that there was no distinguishing factor that would suggest their creative process was nothing more than normal thoughts and ideas. Therefore, I decided to change my tactics by studying the finished programs for anomalies. I found the details that went into creating my story was remarkable, and sometimes even arbitrary (according to their point of view). From the Gallifreyan script on the top of my TARDIS console, which was gibberish to them and designed just to ‘look cool’, to the ring I wear, which happens to be my actor’s wedding ring.
The strongest anomaly came from a video, which somebody shared with me. This scene was not deleted from the show, as the title of the video suggests. It shows me recording a message to my companion Martha, giving her instructions to follow while I was, for all intents and purposes, ‘away’. In the video, the actor begins telling the instructions, but then suddenly goes out-of-character with some random talk about gigs and making silly noises before returning to finish, in-character. I understood that, according to what was presented in this episode, Martha fast forwards through this middle portion of the recording to get to the end, and the actor was told to fill the space in between with whatever nonsense he wanted. However, I can tell you with utmost certainty that I did not say those things, and am irked that Martha would fast forward past #19 since that was also very important (although, in this regeneration, I’m only impartial to the taste of pears).
While the results are not as conclusive as I hoped, I am convinced that there is causal connection between our lives and the stories they represent, and that our lives influence the stories, and not the other way around. Or I could be wrong. But that’s not very likely.