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Docteur Qui

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Docteur Qui last won the day on August 22 2020

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    Sure Jan

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  1. I think the angry face is softened by how silly it looks, you can't really take it seriously. I can't stand the confused emoji. It's so insipid, I want to punch its little yellow face in.
  2. I really dislike the traditional rock rhythm section in orchestral scores (drum kit, bass and guitar). It always sounds so cheesy to me. Murray Gold was a shocker at this with many of his Doctor Who episodes; wonderful scoring but brought down by a boring rock beat. Also I really don't like how many composers use the full chorus these days. This isn't so much a dislike of the sound, but just a recognition of when it's appropriate or not. Lord of the Rings or Star Wars? Yeah sure, I'll lap it up. But I saw the latest Spiderman movie and egads, that is not a film that needs an epic choir, certainly not for the scenes it was used in. You can always rely on Giacchino to turn things up to eleven when a nine or ten would've done fine; it only serves to diminish the effect - the same happened with his Jurassic World scores. He just gets a pass for the choir in the Vader hallway scene from Rogue One, purely because of Williams' work setting it up with the Anakin/Vader scenes from Revenge of the Sith.
  3. Is the rumoured deal with Terry Nation's estate still in place? I.e. that they need to be featured in every series otherwise they will permanently revoke the rights? It's a maddening situation to be in, but it's led to some pretty creative ways to address the situation (like Adelaide as a child seeing a Crucible Dalek from Stolen Earth/Journey's End and realising it didn't kill her for a reason). Indeed, and as an aside this bodes well for the show's future; one of many reasons I imagine RTD is returning is to shepherd a plethora of Whoniverse spinoffs in the future. He's said it before; it's a world that deserves just as much creative output as Marvel or Star Wars. If there's one way to secure the show's legacy it's to get this stuff going and inspire more creatives to get involved with it. Future writers and showrunners of the flagship can earn their stripes working on spinoffs, just like the "old guard" did with the Target novels and Big Finish stories.
  4. Yeah, I mean The Last [insert noun here] is a pretty common genre/fantasy title. Off the top of my head: The Last Airbender The Last of the Mohicans The Last of Us The Last Samurai Last of the Timelords etc It's an evocative way to title a story and says a lot without needing many words. But I suppose it's very likely Johnson came across it a few times when researching for the film and it stuck in his head as being a good summation of the themes in his film.
  5. I mean, more time comparative to a regular series of the show; 2013 had the back half of Series 7 and the two specials (plus Night of the Doctor), compared to the full run of 14 episodes in previous years. The gap between Time and Series 8 was the longest the revival had until the full year in 2016. I understand it was probably hellish, but he clearly spent more time on those two scripts than any individual one in series 7, and it shows.
  6. To me it's clear that Moffat, like most writers, can write wonderfully when given autonomy and time. But the pressures of being executive producer, lead writer, etc were always going to mean drop in quality in his individual episodes. There's a reason series 5 is so damn strong, and that's because he had over a year of not being the showrunner to come up with his ideas and draft his scripts. Things weren't helped when Sherlock became an unexpected smash hit and he had two wildly successful shows to run. The production issues hampering the show in 2012/2013 coincided with his era's weakest episodes (with the sole exceptions being Day and Time of the Doctor, which he obviously had a lot of time to work on). He had a much better flow by the time Capaldi entered the picture and that shows in his writing as well - two of his standalone scripts (Listen and Heaven Sent) during that time are the best he's ever made for the show IMO. Reading through RTD's Writers Tale gives a detailed picture of what the job looks like. It's hard to write an excellent script when you're busy approving CGI from one episode while madly rewriting another episode written by someone else. It's a miracle anything makes it to the screen. It also gives me some empathy for Chibnall who clearly struggled with the demands of the job as well.
  7. I wasn't going to go into this any further because I'm not really trying to change your mind, only communicate why the story choices about Luke work for me. But as you've asked me direct questions I'll answer the best I can. I'll repeat that the brevity of the sequence of events is what is important here - Luke reacts before he can think rationally about what he has seen. Harbouring doubt implies processing what he has seen, which he can't do because thought processing is a higher brain function that occurs after a traumatic or stressful incident. What Luke thinks of the vision after the fact isn't explicitly stated, he only tells us how it made him feel. But to me the implication is that much of his guilt stems from the idea that the vision came to pass because of how he reacted - in essence he feels like he caused it. He eventually absolves himself of a lot of this guilt (with crucial help from Rey and Leia), accepting that Snoke is the ultimate reason Ben turned, while importantly still owning up to his wrongdoing by sacrificing himself to save the Rebellion in an act of penance. None of this is at all contradictory to Luke as a character, unless you view Luke as not having any human flaws and weaknesses to begin with. The physical circumstances of each scene are different, but the essence is the same. While in an already heightened state and dealing with a complex combination of emotions, Luke is told something that causes him to react emotionally and violently. On the Death Star he is mid-battle, being stalked by his father, full of adrenaline and fear, but also trying to focus on the compassion he feels for Vader when the provocation occurs. In TLJ he is already visibly unsettled and afraid of what senses from Ben, even before he reaches out and the vision occurs. His mental state before each incident is every bit as important as what happens after. I know I'm getting a bit psychological here, but that's what the film is inviting us to do - to try and understand what is going through Luke's head in this moment and how he processes it after the fact. In my view this is very well communicated in the film, but that effectiveness is obviously subjective.
  8. Luke literally calls it a "fleeting moment", it's in the text. He experiences a disturbing vision, draws his saber, but then the moment passes and all that is left is the shame. The brevity of the moment is what is important - his emotions and primal instincts completely take over in a split second, and a split second later he sees reason. It's a very human moment but obviously quite heightened (read: space opera). I disagree, we don't need to see what's happened in the 30-year gap because that's not what the story is telling us is important about his character. The last time we saw Luke he had an almost identical moment: when taunted about corrupting Leia by Vader (who at this point he has already committed to redeeming) he is overwhelmed by anger and violently attacks him. It's a shocking moment in that film, and it obviously has stayed with Luke. His reaction to the vision of Ren is a deliberate echo of that moment and demonstrates the lifelong struggle that is mastering our primal emotions, and that is precisely what the text is telling us is important about Luke's character in this particular story. The shame he feels in this moment is infinitely compounded, the subtext is that this time he should have known better, especially as a trained Jedi. The fact he didn't actually attack Ren like he did Vader doesn't matter, certainly not to Ren.
  9. Well, yeah. I remember when Moffat first took over and fans left in droves. I was sitting there going "this is the best thing I've ever seen, what is wrong with you people?". I've grown a bit since, and acknowledge that different strokes etc. There's quite a vocal crowd who love Chibs' run, bless their little hearts. They'll hate RTD2 while we lap it up. That's Doctor Who for you. As I always say, if you don't like it, just wait a few years, then it'll probably be for you.
  10. I think you're right that you can't measure in degrees of conflictedness. But I prefer to think in terms of what's compelling to watch. Luke searching for answers for how to fix the past and inadvertently abandoning his friends doesn't hit me as hard as Luke deliberately abandoning his friends because of the guilt he feels for a fleeting moment of primal and war-like violence. The shame he displays - not only as a result of the moment, but also in how he selfishly justifies the abandonment - is compelling to watch. It's a commentary about how when we (as individuals and as a society) mature our binary ideas about right and wrong become only more muddled and difficult to navigate. The greatest triumph of Luke was removing the burden of shame and redeeming himself with a final, powerful act of nonviolence to counter his earlier struggle, and stand for what is right in the face of the oppressive forces of war and hatred. That, to me, is a story worth telling, especially now. Again, I get why people didn't like it. But it worked very well for me, and helped to push the boundaries for legacy franchises beyond hammering the nostalgia button.
  11. Hermit Luke and his arc was one of the best things about TLJ. That's how you do something new with a bland character who's been around for decades. While I would have loved seeing the original trio interacting with each other their tragic separation and lack of reunion is a more compelling story IMO. It hits extra hard after Fisher's death. I can totally understand why it divided people, but for me it's the fulcrum of the whole trilogy. Had Trevorrow's (flawed, but infinitely superior) script for the third film been realised I genuinely think the sequel trilogy would have gone down much better than it did.
  12. Neither, though I very much like The Unquiet Dead and the camp romp that is The Crimson Horror. Victory of the Daleks is fun as well. His episodes are not excellent, but when I glanced at his output just now I have to say than only Sleep No More is a real clunker, the rest are solid if underwhelming. Hoping for another Maxine Alderton or Jamie Mathieson episode in the new series. I hope they pitch to RTD and he likes them. But I wouldn't be surprised if RTD pens the majority of series 14. I doubt Moffat will return any time soon, as much as I'd love him to. Who knows, he might take over from RTD in 4 years and the whole cycle begins anew. Who nose?
  13. Yeah the last few days has seen a lot of pics from filming doing the rounds on Twitter. The casting announcements were all to get ahead of all that. From what I've seen so far: (huge spoilers) Not only that, but: This special is shaping up to be more bonkers than Day of the Doctor. And more ambitious I might say. So ambitious that I'm starting to wonder if we'll be getting more than just a single, movie-length special, perhaps a few episodes...
  14. It’s a bit disconcerting. RTD could be cavalier with his genocides, but there’s quite big difference when it’s genociding half the universe. Talk about breaking the toys before putting them back in the box.
  15. I wonder if we’ll see any acknowledgement that a good portion of the universe and its in inhabitants were eradicated by the Flux without so much as an “oh well” from the Doctor. That better get wrapped up…
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