Doc Martin Lovers – blog. The following post was written by one of our newest blog readers. She and I corresponded through email about the show and she then wrote me about having watched all the series in an inventive manner. I thought you should all have a chance to read how that affected her reaction to the show and to these characters.

I also wanted to add a few remarks of my own. They are better placed at the end of Amy’s post. I hope you enjoy this interesting approach to reconsidering some of the thornier issues we’ve been trying to address: First, thank you to Karen for inviting me to write this post.  I was a latecomer to the blog, only discovering it in the spring of 2. I started to watch Doc Martin for a second time.  I had watched Series 1- 4 on Netflix and then watched Series 5- 7 in “real time,” but it was only on the re- watch that I started to look for a resource to understand more about the show and the issues it raised. Reading all the posts and comments here has been very illuminating, and some of the discussions, especially about S7, made me realize that I wanted to review the entire series (S1- S7) once again so that the earlier episodes were clearer in my memory as I read the blog.  But I honestly didn’t want to watch all the side stories again—the Bert and Al stories, the Penhale and Mrs T stories, or the patient stories.  I wanted to focus on the relationship between Martin and Louisa: how did it start, how did it develop, how did it change? In particular, I had a few questions to focus on, issues that seemed to trouble viewers and some readers of the blog. For example, did it make sense that Martin and Louisa called off the first wedding?

Or were the writers just torturing viewers? And did Martin’s statement that he knew she wouldn’t make him happy make sense?

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Also, was S6 as dark as I recalled? Were Martin and Louisa really as angry and distant through S6?

And then there is S7.  Like many, I had found the characterization of Louisa in S7 wildly different from how she’d been depicted in every other series—as mean, cold, angry, unforgiving. Was that really the case? And what about the much discussed gap between E7 and E8 in S7? On my first viewing, I saw no gap. On my second view, I noticed it and was, like many, perturbed by it.  How would it seem on a third viewing?

And then finally, the last scene of S7, E8.  Would it make any more sense to me now? So here’s what I did.  I started with S1 and over the course of a few days, I watched every episode in order, but fast forwarded through every scene that did not include Louisa and Martin with a few exceptions—scenes with Joan or Ruth and Martin, scenes with the awful Margaret, and scenes with Dr T and either Martin or Louisa.  It usually meant I could watch an entire episode in about 1. I do realize this sounds insane, but hey, I am retired, and it’s summer.)What did I experience as a viewer doing this? Well, first of all, I really enjoyed S1- 3.  In those series, Martin and Louisa are like sparring partners.  The sparks fly, the sexual tension is intense, and the banter is smart, funny, and fast- moving.  In both the Bad Breath kissing scene and the Urine Odor Date scene, I felt more sorry for Martin than outraged or amused and also empathetic to Louisa, but a bit annoyed that she didn’t at least give him a chance to talk it through.  Poor guy was clueless.  And she ran. Then we get to the Holly episode in S3 and the engagement and called off wedding.  I admit that on my first two viewings, I was thrilled that Martin and Louisa had gotten together.  But on my fast forward viewing my reaction was different.  It was much more obvious that the two of them had never really had a full conversation about anything—just lots of banter and bickering and interrupted dates and kisses that ended up with misunderstandings.  How could they get married? They hardly knew each other. So this time my reaction to the cancelled wedding was different.

This time it made perfect sense.  How could two people who’d done nothing but argue and kiss twice get married? Especially when one was so different from the other? What didn’t make sense was Martin saying she wouldn’t make him happy.  I still think he realized that he wouldn’t make her happy and let her off the hook.  Even she looked surprised when he said that. Also, what hadn’t made sense on earlier viewings was Louisa leaving town, running away.  Couples can decide they’re not ready to get married without breaking up.  But on further thought, it made sense knowing what we know about Louisa—that she runs away from problems rather than confront them.  Maybe that wasn’t as clear to me on my first viewing of S1- 3, but now it appeared to be more consistent with the character’s behavior. Then we get to S4, a series I’d recalled not enjoying because I was so frustrated that Martin and Louisa were not communicating with each other; it felt like a bad farce where one character walks in the door just as the other walks out.  I hate that stuff.  And I also hated Edith.  On my fast- forward review (which did include some of the Edith scenes), S4 felt different.  This time I enjoyed it.  It was so obvious to me that Martin and Louisa wanted desperately to be with each other, but couldn’t figure out a way to express that to each other.  Edith was nothing but a minor distraction, not a threat.  And, of course, the birth scene was still wonderful.  Who doesn’t love a birth scene? Now let me stop and observe one thing.  I know that it’s very different to view something a second time when you know how things end.  Of course, S4 felt better knowing that in the end Martin and Louisa would reconcile.  But even my second viewing left me frustrated with them.  It was only by fast forwarding through the extra material that I could really focus and see how much those two were dying to be with each other but stuck in their respective corners.

I also got a different feeling for S5 this time.  Before it had seemed like two lovebirds had turned overnight into enemies.  But focusing just on their scenes together gave me a new way of seeing those interactions.  They weren’t enemies—they were doing what many, if not most, new parents do: struggling to figure out how to be parents, how to stay a couple, and also how to retain their own individuality.  They just were more inept than other couples at expressing themselves in any positive way as they struggled through it. But for me the biggest surprise was S6, a season I really had not enjoyed the first time and that I almost didn’t watch the second time.  My recollection of it had been that Martin was sad the whole time and Louisa was angry the whole time.  Not so on this fast forward watch. Yes, Martin was upset and withdrawn once he realized the blood phobia had returned (although I don’t think it ever went away; there are scenes in S5 where he still reacts to blood as well as the birth scene in S4).  But Louisa was not angry.  She was trying her best to reach out to him; she was sympathetic and patient.  She tried to get him to talk to her.  And then she was hurt when he refused to go away with her.  That was the ultimate slap in the face, if you ask me.  And with Margaret appearing, Martin became even more withdrawn, more depressed.  (Who wouldn’t be?) But Louisa kept trying.  Nothing worked.

PBS Unveils Fall Primetime Schedule – New Drama Series, Documentaries, Performances & More. PBS has revealed its Fall 2.

America’s most legendary filmmaker and his magical legacy in “Walt Disney” on AMERICAN EXPERIENCE, and the new MASTERPIECE drama “Indian Summers,” featuring acclaimed actress Julie Walters. Of special interest to this blog, and part of the network’s AMERICAN MASTERS series, is the feature documentary “Althea,” which recounts the life and achievements of the groundbreaking African American tennis player, Althea Gibson, set to premiere on September 4. The network has also set a November celebration of America’s diverse musical history in AMERICAN EPIC, a series that will document the roots of modern music. Over 3 nights, audiences will rediscover the families whose music was recorded (early blues, country, gospel, Hawaiian, Cajun and folk), without which there would be no rock, pop, R& B or hip hop. Included as part of the music series will be the premiere of “Unity – The Latin Tribute to Michael Jackson,” a concert special that showcases songs from Tony Succar’s album of the same name. There is also its new Civil War drama, “Mercy Street.” The series, executive produced by Ridley Scott, will unfold in 6 parts, and will be the first American drama to air on PBS in more than a decade. It will join a robust Sunday night drama lineup on PBS in winter 2. Downton Abbey” on MASTERPIECE.“Mercy Street” follows the lives of two volunteer nurses on opposing sides of the Civil War – New England abolitionist Mary Phinney and Confederate supporter Emma Green. The Green family’s luxury hotel in Alexandria, Virginia, has been transformed into Mansion House, a Union Army hospital tending to the war’s wounded.

Inspired by memoirs and letters from real doctors and nurse volunteers at Mansion House Hospital, this new drama reveals the stories of those struggling to save lives while managing their own hardships. The series features the acting talents of black actors like Mc. Kinley Belcher III and Shalita Grant in starring roles. And in September, “Gorongosa Park: Rebirth of Paradise” documents the revival of Mozambique’s national park after years of civil war in that country. Included in the NOVA series will be the November broadcast of “Eddie Murphy: The Kennedy Center mark Twain Prize,” which will honor comedian and actor Eddie Murphy, the latest recipient of The Kennedy Center Mark Twain Prize for American Humor. From the stage of The John F. Kennedy Center for the Performing Arts in Washington, DC, a lineup of the biggest names in comedy salutes the 1.

And on Tuesday this fall, PBS’ acclaimed investigative series, FRONTLINE, uncovers the latest in America’s war on drugs, immigration reform, the hunt for the Pan Am flight 1. PBS has the very best shows this fall, from historic dramas to true- life mysteries to extraordinary live performances and more,” says Beth Hoppe, PBS Chief Programming Executive and General Manager, General Audience Programming. It’s a season that highlights what we do best as we revisit Ken Burns’s seminal masterpiece film, introduces new epic series like “Indian Summers,” and surprises us with fresh takes on things we thought we knew, like the legacy of Walt Disney or the musicians profiled in AMERICAN EPIC.

When viewers want to be entertained, learn, laugh and cry, all week long, they turn to PBS.”Check out the full lineup below, via press release from PBS: SEPTEMBER ON PBS: AMERICAN MASTERS “Althea” — Uncover the story of Althea Gibson (1. She was the first African American to win Wimbledon and the U. S. Nationals (precursor of the U. S. Open) — a decade before Arthur Ashe. The documentary explores her mentoring by boxer Sugar Ray Robinson, former New York City mayor David Dinkins and others.

Interviewees include Dinkins, Wimbledon champion Dick Savitt and Billie Jean King. Watch The Taint IMDB on this page. Produced and directed by Rex Miller (A Chef’s Life). Friday, September 4, 9: 0.

ETARTHUR & GEORGE ON MASTERPIECE — Martin Clunes (“Doc Martin”) stars as world- famous author Sir Arthur Conan Doyle in this three- part adaptation of Julian Barnes’ acclaimed novel that follows the separate but intersecting lives of two men: a half- Indian son of a vicar who is framed for a crime he may not have committed; and Doyle, who investigates the case. Sundays, September 6- 2. ETTHE CIVIL WAR 2. ANNIVERSARY — Producer and director Ken Burns’s award- winning film THE CIVIL WAR will rebroadcast over five consecutive nights this month, coinciding with the 2. This is the first time the film will be in high definition, further enhancing the vision of Burns and his cinematographers Allen Moore and Buddy Squires more than 2.

Monday–Friday, September 7- 1. ET“Walt Disney” on AMERICAN EXPERIENCE — Walt Disney was uniquely adept at art as well as commerce, a master filmmaker who harnessed the power of technology and storytelling. This new two- part, four- hour film offers an unprecedented look at Disney’s complex life and enduring legacy, featuring rare archival footage from the Disney vaults, scenes from some of his greatest films and interviews with biographers, animators and artists who worked on early films, including Snow White, and the designers who helped turn his dream of Disneyland into reality. — Monday- Tuesday, September 1. ETAMERICAN MASTERS “Pedro E. Watch Barbie: The Pearl Princess HD 1080P. Guerrero: A Photographer’s Journey” — Discover the remarkable life and work of Pedro E. Guerrero, a Mexican American born and raised in segregated Mesa, Arizona, who had an extraordinary, international photography career.

Using Guerrero’s words and images, the program explores his collaborations with three of the most iconic American artists of the 2. Frank Lloyd Wright and sculptors Alexander Calder and Louise Nevelson. This film is a special co- presentation with VOCES.

Friday, September 1. ETPOV“Cutie and the Boxer”An Oscar®- nominated reflection on love, sacrifice and the creative spirit, this candid New York tale explores the chaotic 4. Ushio Shinohara and artist Noriko Shinohara. Friday, September 1. ET“Don’t Tell Anyone” (“No Le Digas a Nadie”) — Meet immigrant activist Angy Rivera, the country’s only advice columnist for undocumented youth.

In a community where silence is often seen as necessary for survival, she steps out of the shadows to share her own parallel experiences of being undocumented and sexually abused. Monday, September 2. ET“Art and Craft”The jig is up for art forger Mark Landis, who has donated his expert copies to museums for 3. But stopping isn’t simple. This cat- and- mouse caper uncovers the universal in one man’s search for connection and respect. —Friday, September 2.

ETON TWO FRONTS: LATINOS & VIETNAM — Examine the Latino experience during a war that placed its heaviest burden on working- class youth and their communities. Framing the documentary are memoirs of two siblings, Everett and Delia Alvarez, who stood on opposite sides of the Vietnam War, one as a POW and the other protesting at home.

Tuesday, September 2. ETGORONGOSA PARK Rebirth of Paradise.

Experience the inspiring rebirth of an African wilderness through the eyes of Emmy Award- winning wildlife cameraman Bob Poole. Darting lions, wrestling crocs, facing down angry elephants — it’s all part of a day’s work as he joins the battle to re- wild a legendary national park. — Tuesdays, September 2. October 6, 8: 0. 0- 1. ETNATURE“Nature’s Miracle Orphans” (w.