|
I agree with pretty much everything, except the ending doesn't seem to bother me as much. I also really love the moment after Sky and the stewardess are sucked out (okay yes it's a bit stupid) when they ask what her name was, and nobody knows. Even the Doctor, who was so determined to have everyone chat and mingle together for the entire trip, didn't even bother to get the Stewardess' name. She was barely there in anyone's mind, and she ended up saving the Doctor's life. It's a very depressing moment. And IIRC, there is a small explanation for why the stewardess had to hold onto Sky, there's a line where someone says that after the door is opened there is an atmospheric lock of some kind that will keep the lack of air outside from sucking everyone out, but it only lasts for seven seconds. And that's why she's counting as the door is open. Of course that just leads to the question of why didn't everyone get sucked out and why did the door shut behind itself and dammit Toxx you're making me pick apart my favourite episode stop it. Toxxupation posted:[*] This episode is when a family goes on a road trip and one of the kids starts annoying one of the other kids by mimicing everything that kid says or does: The Horror Movie. There, now I've ruined "Midnight" for you forever. You're welcome. drat YOU TOXX!! 
|
#
?
Nov 4, 2014 15:00
|
|
|
|
| # ? Jun 10, 2024 17:34 |
|
|
Toxxupation posted:
I disagree with a lot of what you say about the difference between them, but this point especially. In fact, I think one of Moffat's strengths and what makes him better at craft than Davies is that Moffat focuses on a work's signature, which does mean bookending and littering the script with the theme throughout (which is why a lot of his stuff focuses on a few repeated lines, e.g. "Are you my mummy?" "Don't blink," etc), but in his high concept pieces, it is all about building to quality moments. This is a facet of science fiction and particularly sci-fi horror in general, and one of people's big complaints are about "gimmick" endings, especially in Twilight Zone-like work like, well, about half of Doctor Who, no matter who's writing it. Davies focuses on character in the moments that build and his weakness is that his character work is loaded with sentiment and as subtle as a hammer. Moffat focuses more on theme and his weakness is that his characters are often taken from stock and very sitcom-y (which makes sense, given that Moffat cut his writing teeth on sketch and sitcom). They're both writing high concept though, which is I think what you're getting at by building to a moment. Perhaps less so in Blink, but definitely in the Library two parter. Midnight is great though. It's a fantastic bottle episode that Rod Serling would have been proud of.
|
|
#
?
Nov 4, 2014 15:00
|
|
|
Bicyclops posted:Midnight is great though. It's a fantastic bottle episode that Rod Serling would have been proud of. He'd probably just be like  since the entire thing is just "The Monsters are Due on Maple Street" on a train with the Doctor shoved into it. I still like it a lot, but come on now.
|
|
#
?
Nov 4, 2014 15:07
|
|
|
mind the walrus posted:He'd probably just be like Serling loved derivative work. Just look at his own scripts! 
|
|
#
?
Nov 4, 2014 15:13
|
|
|
JoltSpree posted:And IIRC, there is a small explanation for why the stewardess had to hold onto Sky, there's a line where someone says that after the door is opened there is an atmospheric lock of some kind that will keep the lack of air outside from sucking everyone out, but it only lasts for seven seconds. And that's why she's counting as the door is open. Of course that just leads to the question of why didn't everyone get sucked out and why did the door shut behind itself and dammit Toxx you're making me pick apart my favourite episode stop it. The emergency forcefield on the door lasted six seconds, and as soon as it collapsed the door closed automatically. There was a fraction of a second before the door kicked in where the bus was open to vacuum and whatever was by the door would get sucked out. It wasn't long enough for anything else on the bus to, though, it was only a moment. That was why the hostess had to hold her there. It wasn't as simple as being able to fling something out. If they'd all been acting together and figured out what was going on they would've presumably tied Sky up and left her by the door, but they were all busy murdering The Doctor and the Hostess figured it out at the last moment and had to act on her own. So yeah, some small poorly-explained justification. MikeJF fucked around with this message at 15:29 on Nov 4, 2014 |
|
#
?
Nov 4, 2014 15:17
|
|
|
Midnight owns, A-triple-Plus, Occ is wrong. Flibble fopple dibble dooble
|
|
#
?
Nov 4, 2014 16:08
|
|
|
DoctorWhat posted:Midnight owns, A-triple-Plus, Occ is wrong. https://www.youtube.com/watch?v=YdDMrncAy4U
|
|
#
?
Nov 4, 2014 16:12
|
|
|
Yes, yes, Mister Sherman, EVERYTHING stinks.
|
|
#
?
Nov 4, 2014 16:31
|
|
|
I thought he rated it too high! I remember hating this episode and the thread being mixed on it when it came out. I thought all of the characters were hokey as poo poo, but I guess that's pretty much a standard for RTD's writing skill. The best RTD episode remains Gridlock in my mind. 
|
|
#
?
Nov 4, 2014 17:24
|
|
|
I remember liking this episode, but I've always enjoyed the "Monsters on Maple Street" conceit of the bad guys letting human nature do the dirty work for them. And how this one boiled down to the passengers playing a game of Mafia. What really filled me with glee was a group of people finally not being utterly charmed by the Doctor. I think by this point I had enough of Ten. Like when he turned off everyone's electronics to force everyone to chat with him, all I could think of was "What a jerk." Having everyone decide he was a dangerous weirdo was enough payoff for me, even if the ending wasn't good.
|
|
#
?
Nov 4, 2014 19:42
|
|
|
So when's the correct review for this episode coming out?
|
|
#
?
Nov 4, 2014 19:56
|
|
|
30.5 Days posted:So when's the correct review for this episode coming out? It already did, last page
|
|
#
?
Nov 4, 2014 20:00
|
|
|
30.5 Days posted:So when's the correct review for this episode coming out? I'm at work, so within 6-8 hours depending on how soon I get done. Also, today is Election Day! Please remember to participate in our money-strangled sham of a government by placing your vote today, and then burying yourself in your inconsequential media of choice to better ignore the inexorable march of eighteenth-century plutocrat philosophy over what feeble scraps of comfort and civilization we have left. Oxxidation fucked around with this message at 20:10 on Nov 4, 2014 |
|
#
?
Nov 4, 2014 20:02
|
|
|
Oxxidation posted:I'm at work, so within 6-8 hours depending on how soon I get done. 
|
|
#
?
Nov 4, 2014 20:04
|
|
|
Midnight Hahahahahaha. The scores, overall, won't really change that much, not because everyone got it right, but because so many people guessed wrong. As many people guessed A here as they did for Forest of the Dead. Also well done M_Gargantua on being the only person to score 0 this episode. A BSam jng2058 adhuin idonotlikepeas Soothing Vapors Senerio Random Stranger Xenoborg Zaggitz FreezingInferno legoman727 One Swell Foop Fucknag Andwhatiseeisme Regy Rusty thexerox123 Ohtsam Go RV! Rarity Adder Moray B Jsor Weird Sandwich Evil Sagan NeuroticLich C M_Gargantua D Overmayor Sighence Which gives us total scores of Adhuin 9 ohtsam 9 Adder Moray 9 jng2058 10 M_Gargantua 10 Fucknag 10 overmayor 10 Random Stranger 11 Zaggitz 11 Evil Sagan 11 one Swell Foop 11 thexerox123 11 Soothing Vapors 12 Senerio 12 FreezingInferno 12 Legoman727 12 Andwhatiseeisme 12 Go RV 12 Rarity 12 Jsor 12 BSam 13 Xenoborg 13 Regy Rusty 13 NeuroticLich 13 idonotlikepeas 14 Sighence 15 Weird Sandwich 17 Keep on keepin' on Weird Sandwich
|
|
#
?
Nov 4, 2014 20:07
|
|
|
Oxxidation posted:I'm at work, so within 6-8 hours depending on how soon I get done. Another thing that helps is to buy a bottle of really nice scotch that you're going to save to have one glass for each election day, covering the bottle with one "I voted!" sticker for each election you participated in, so that you'll have a beautiful bottle filled with memories of each of your experiences. Then, instead of following that plan, you drink the entire bottle of scotch and during that first moment when you have to piss, toss the sticker into the toilet, mumbling crankily about gerrymandering, First Past the Post and the like. Watch enough of those Doctor Who episodes where the Doctor defeats evil with the power of hope and love to get optimistic enough to repeat the process for next year.
|
|
#
?
Nov 4, 2014 20:12
|
|
|
Okay since adder moray never responded either he left te thread or doesn't care and either way I think it's real hilarious that only m_gargantua got it right this round so if you can explain what made you think id grade this a c dude I'll send you a copy of risk of rain
|
|
#
?
Nov 4, 2014 20:34
|
|
|
The bit where the woman called the Doctor an immigrant made me scoff so hard I turned inside out.
|
|
#
?
Nov 4, 2014 20:36
|
|
|
This was an episode I hoped to like the first time I watched it since I'd seen so many people rave about it. But I can't. I just can't. As Occ has said, shows should be judged not for what you want them to be, but for what they are trying to be. And this was trying to be a really great episode, but it was poorly executed by a cack-handed writer who wasn't entirely up for the challenge. I can see what this episode was trying to do, but for me it failed. A really good writer (or a writer who was really good at this type of script) would have made me sympathize with the human characters at some point; would have made me question the Doctor's sanity at some point; would have made me give a poo poo when Sky and the stewardess went out the door; and would have left me thinking about the events of the show after it was over. None of that happened. None of the human characters are given a chance to be worthy of investment - they're all as shallow as puddles. The Doctor is too busy being a genius and looking down his nose at the primitive, stupid humans to work with the people he's trapped with. There's a bit too much dialogue, pushing things too hard and too fast to build any real tension because I was just wanting to scream at them all to shut up. None of these people, including the Doctor, takes five seconds to think. The Doctor is set to "arrogant bastard" and the humans are set to "frightened monkeys" and they stay that way through the whole episode (if the mom there had started shrieking and throwing her own poo it wouldn't have seemed out of place - and actually it would have made the episode better.) In other words, all the characters were horrible and by the time Sky started overtaking the Doctor's mind, I didn't care what happened to any of these people. Only two bits actually resonated for me at all, and those were when Skye and the stewardess went out the door and the Doctor collapsed on the floor repeating, "It's gone it's gone it's gone" and the bit where the goth kid says silly things just to hear Sky repeat them (such a teenager kind of thing to do.) On the other hand, I did watch this episode again just to appreciate Lesley Sharp's performance. I may not like the episode, but I'm still impressed by the level of craft she put into it. Edit: I suspect I came across a little stronger in this post than I meant to. I don't hate Midnight, I just didn't think it was GREAT! It was ... an okay episode, just didn't hit the mark it was aiming for cleanly enough to charm or amaze me. Filox fucked around with this message at 06:38 on Nov 5, 2014 |
|
#
?
Nov 4, 2014 21:10
|
|
|
Midnight is great, naysayers are chumps.
|
|
#
?
Nov 4, 2014 21:33
|
|
|
Toxxupation posted:Think about it: It's a specifically tonal, slow-paced, and moody piece (Moffat trademark), centered around a female character (Moffat trademark) that deals with a mundane horror that's genuinely frightening, especially to children (Moffat trademark). There's no rubbery and/or CGI alien (RTD trademark) ; the monster is practical and preys on the audience's imagination (Moffat trademark) of what the encroaching horror of losing all sense of identity would be, in addition to the dual terrors of being stuck with an imminent threat in a confined space and being unable to trust your fellow man. The script is dialog and character-heavy (Moffat trademark) and there's no big action sequences (RTD trademark), and zero run-shouting (RTD trademark). Heck, The Doctor is a supporting player in the story, a Moffat trademark if ever there was one.
|
|
#
?
Nov 4, 2014 21:36
|
|
|
Oxxidation posted:I'm at work, so within 6-8 hours depending on how soon I get done. Pfft, maybe in whatever crazy countries they have overseas it's election day
|
|
#
?
Nov 4, 2014 21:47
|
|
|
Filox posted:On the other hand, I did watch this episode again just to appreciate Lesley Sharp's performance. I may not like the episode, but I'm still impressed by the level of craft she put into it. She's a really wonderful actor - see her in The Second Coming, a bit of RTD that's pretty decent.
|
|
#
?
Nov 4, 2014 21:56
|
|
|
Plavski posted:She's a really wonderful actor - see her in The Second Coming, a bit of RTD that's pretty decent. Oh, sounds interesting, I'm going to check into that, thanks.
|
|
#
?
Nov 4, 2014 22:07
|
|
|
Plavski posted:I hate this episode. It also shows how limited rtd's imagination is. Space traveling, planet hopping humans in the far future are ignorant couples from Essex with Goth children. It's 1996 in space. It's the same thing that bugged me in Utopia: humans at the very end of time itself are just failed Mad Max extras. No imagination at all. Hell, even his human-looking aliens from 'Voyage of the Damned' were just contemporary humans with slightly silly names.
|
|
#
?
Nov 4, 2014 22:07
|
|
|
Payndz posted:That was a failing of almost all RTD's future-set stories to me. He was so obsessed with his idea of "audiences can't relate to aliens from the planet Zog!" that he made all his human characters not only utterly contemporary, but unimaginatively so - they could have stepped out of any other TV show on the air at the time. (Which, er, they actually did in 'Bad Wolf'.) They're basically from 2005 London, even 5000 years in the future. Is it rare to not have a problem with this approach?
|
|
#
?
Nov 4, 2014 22:08
|
|
|
I like it too. It's a nice subtle way of saying 'no matter how far off we are, humans are always humans'. And after all, let's not kid ourselves, the alternative is stilted, rubbish future-dialogue.
|
|
#
?
Nov 4, 2014 22:21
|
|
|
Payndz posted:That was a failing of almost all RTD's future-set stories to me. He was so obsessed with his idea of "audiences can't relate to aliens from the planet Zog!" that he made all his human characters not only utterly contemporary, but unimaginatively so - they could have stepped out of any other TV show on the air at the time. (Which, er, they actually did in 'Bad Wolf'.) They're basically from 2005 London, even 5000 years in the future. This is fairly true of virtually all televised science fiction, though? I mean, I know they slap either spots or forehead ridges onto most of the "aliens" on Star Trek, but they're all basically people.
|
|
#
?
Nov 4, 2014 22:31
|
|
|
Dabir posted:I like it too. It's a nice subtle way of saying 'no matter how far off we are, humans are always humans'. And after all, let's not kid ourselves, the alternative is stilted, rubbish future-dialogue. He doesn't know how to use the three seashells!
|
|
#
?
Nov 4, 2014 22:49
|
|
|
Soothing Vapors posted:Occ, I value and respect your opinion, but you are Wrong and I want to hit you with a brick Actually I agree, Annakie can you make some variation of this the thread title
|
|
#
?
Nov 4, 2014 22:53
|
|
|
Doctor Who "Midnight" Series 4, Episode 10 It's November 4th as of this writing, and what better way to commemorate Election Day than with a TV episode about a bunch of ordinary people driving each other into a short-sighted frenzy of ignorance until all goodwill and hope in their lives is destroyed? Well, alcohol could also suffice. But instead you get Doctor Who. I don't know what happened to Davies prior to the scripting of this episode. Possession by a better writer? Momentary recovery from a debilitating and well-hidden brain fever? Was it, in fact, Steven Moffat sitting in Rusty's chair during the production of "Midnight," with platform shoes and a terrible Welsh (tautology) accent? I'm personally in favor of an evil-twin scenario, but which is the evil one? Does the "usual" Davies need to shave off a luxurious goatee every morning while the one who wrote "Midnight" bangs helplessly against a cellar door somewhere? It doesn't matter, in the end. "Midnight" is one of the highest-regarded episodes of the revival, widely thought of as the best one Davies ever wrote, and it's the only reason I don't hate the man's work without reservation. Instead I hate it even more, but with reservation, though that's a point I won't follow up on 'til much later. In many ways, "Midnight" is Davies' answer to "Blink" - its scope is small, the stakes low but personal, its villain an enigma, the atmosphere agonizingly tense. I've said over and over again that Davies' episodes get worse as they get bigger, and this is the inverse; "Midnight" is the smallest episode Davies has ever written, possibly the smallest in the whole series (taking place mostly in a room that three people couldn't comfortably stand in shoulder-to-shoulder). It pares down all his tedious sci-fi jargon to suggestion and rumor, and instead of the stakes being an entire planet, they're limited to less than a dozen people, which eventually breaks down to the Doctor himself. How does this episode succeed? Where are its draws? Why is Occupation an idiot? Let us count the ways. Start with setting. For all of Doctor Who's sci-fi trappings, a lot of its outer-space worldbuilding is unimaginative; our "future" episodes have nearly all been literally "Earth, but the future," with a few offhand mentions of places that certainly sound pretty but can never been seen or explored because of this show's raggedy-assed budget. And then we have Midnight, whose "extonic" (fake word) sun has fused the entire planet into an agglomeration of shining, lethally poisoned gemstones in natural formations such as canyons, glaciers, and fragmented waterfalls; a place so completely anathema to any known forms of life that the luxury hotel had to be air-dropped in and a second's exposure to the outside will kill you before you can scream (okay, that's basically Camden, but still). The brilliant thing about Midnight is that the quality that makes it most intriguing - its lethality, its untouchability - is the same one that allows the show to present it in such depth; the planet's actual scenery is limited to a few scanty backdrops and a bunch of blue lighting, but it works because it's so well-established that any further exploration would turn the would-be explorer into so much toxic dust. The episode's early "[x] kliks later" cuts, while initially amateurish, blend with the presentation of Midnight to establish the episode's early tension - because when that bus breaks down, we know perfectly well that this gaggle of douchebags is nowhere remotely safe. That's the greatest strength of "Midnight," one that permeates its every aspect - because Davies can't go for cheap CGI spectacle in the bottle-episode format, he's forced to rely on other, more mundane forms of sensory input. The tension of "Midnight" is based in over-stimulation. This is obvious even before everything becomes terrible, as the vehicle's media suite bathes its passengers in a riot of clashing colors and noise that's almost reminiscent of Terry Gilliam; the other passengers might look vaguely annoyed when the Doctor short-circuits everything, but it brings nothing but relief to the viewer. And when the bus stops, tension doesn't develop until everyone begins to panic, all of them yammering over one another in one high, incomprehensible wall of noise. People complain that there's too much dialogue in "Midnight," but that's missing the point - the words being spoken are unimportant, but their sound, their presence, is the point of orbit for the entire episode, as the atmosphere thickens or relaxes depending on how much chatter is going on at any given moment. And this is all before our monster of the week enters our lives. The presence that infests Sky Silvestry - for lack of any given name, I'm just going to call it the Echo - is a mystery that'd make the Weeping Angels scratch their heads. Vaguely glimpsed as a "shadow" outside of the car (and even then only unreliably, limited to dialogue), it enters the episode for real as a sound, harsh metallic knocking in the silence. The very fact of it is unsettling for the same reason Occ said the Child was unsettling all the way back in his "Empty Child" writeup, as it contradicts its setting's established rules - the Child can call you on phones that don't work, and the Echo is an intelligent presence on a planet that flash-fries anything living within the typical parameters of "alive." Maybe DAvies should have taken a hint from his own work; most of his villains have been tragic disasters of poor makeup, worse costuming, and idiotic background, and his single most effective antagonist is a wide-eyed woman huddled in a dark corner. Sky Silvestry was a troubled character from the word go (it was hinted by the episode, and later confirmed by Davies, that she actually intended to commit suicide at their destination, and her mental instability may be why the Echo targeted her in the first place), but Lesley Sharp's performance as the Echo-infested Sky is one of the best I've seen, and not just in Who. Even disregarding the slightly contemptuous lilt at the edge of all her mimicry, or her stiff, unnatural initial movements, or her permanent thousand-yard stare, just imagine the effort it must have taken to speak every line of dialogue at roughly the same cadence and volume as all the other actors, as they were saying it. The Echo's mimicry becomes a constant, stressful undercurrent to all the dialogue from the moment of its appearance onwards, matching the gradually hysterical tempo of the other characters' dialogue beat for beat, and when it starts to reflect their dialogue instead of just repeating it, the sound of it, barely heard, in the back of every spoken line is a constant rasp across the ear. It's a creeping, psychological horror based in a beautifully simple concept. And it's effective, too - the Doctor's exploded whole species of hostile aliens who are little more than lasers and screams, but this one muttering woman confounded him, paralyzed him, and nearly got him killed, and better yet, did it by exploiting the very same humans he can never stop loving praising all the time. "Midnight" still follows the same broad brush-strokes you'd expect from a kids' show, but oh baby, does it present one cynical view of humanity, especially for a Davies episode. And why shouldn't it? People are dicks! They're paranoid, self-serving, arrogant, ignorant, uncurious, always looking for a reason to hurt someone and get away with it. And the episode tacitly acknowledges this view in every way; for God's sake, one of the characters is literally named Hobbes. But just having everyone being a screechy rear end in a top hat would have gotten tiresome fast, so "Midnight" does something cleverer - everyone slides back and forth along the same antagonistic axis, until they eventually wind up opposite of where they started. "Midnight" is about reflections. The planet itself is a glassed, mirrored wasteland. The Echo's sole, potent ability is to mimic, reflect, and mirror others. And the characters, too, thinly characterized though they may be, all end up occupying opposite ends of the looking-glass by the time events are through. Jethro starts as a wry, dispassionate observer whose speculations help turn the passengers against Sky; by the time the Doctor gets caught up in the Echo's influence, Jethro's observational skills are shot, leaving him a stuttering, jelly-kneed wreck against his screaming parents. His parents go from a sociable contrast to their moody son to the most bloodthirsty people in the car. Hobbes and DeeDee gradually swap protagonist/antagonist roles as events progress, both led on by their own academic pride (Hobbes starts off as insistent that the Echo can't exist because it contradicts his research, and eventually becomes so obsessed with the contrary idea he screams down his own student for contradicting him). And then there's the Doctor himself. One of the most common points of praise for "Midnight" is how the Echo indirectly inverts all of the Doctor's nutty little quirks and weaponizes them against him. The Doctor likes to flounce into a bad situation and take control of it through his sheer 900-year old space-clever personality, but in this cramped little bus, all of his usual charismatic gambits explode in his face. His jubilant disregard for mortal peril makes the other passengers suspicious; his constant self-aggrandizement insults them; his curiosity towards the Echo unnerves them. Inadvertently, he becomes the villain of the story instead of the hero, with the Echo egging this development along the whole way, until the final piece slides into place and ends the conflict for good. Occupation says the ending was dumb. Well gently caress him, says I. The Hostess is the one responsible for damaging the situation in the bus beyond all repair; she's the first to suggest violence and persists with it even over the Doctor's pacifism. As the one most hellbent on sacrificing others to save her own skin, the reflection motif has her instead become the only one to notice something wrong with "Sky's" recovery and - possibly out of guilt, possibly out of struggle, who knows, who gives a poo poo - sacrifice herself to save everyone else. It's a decision of structure, and justifies any amount of "oh boo hoo why didn't she just give the lady a push" complaining that might go on. Maybe the force field wouldn't let her. Maybe Sky was putting up more of a struggle. Who knows! Who gives a poo poo! And also they clearly didn't just "hop" out of the car, there was at least some wire-and-pulley action going on to simulate the evacuation effect. The dispatching of the Echo shows a commitment to motif and theme that Davies has never bothered to exercise before and that's why this scene and this episode are both very cool and good OCCUPATION YOU DENSE MOTHERFUCKER sorry, I'm being overwrought. But yes, I liked "Midnight" a lot. Maybe because, as Occ did rightfully argue, it's awfully similar to a Moffat episode, but this was still written by Davies, not Moffat, and quality is quality regardless of who's holding the pen. Appropriate for its motif, "Midnight" is Davies at his most reflective, looking back at all his own little peccadilloes as his tenure winds to a close, and spinning them into one of the tensest, cleverest episodes in this whole deeply stupid series. And that's worthy of praise, regardless of whatever's to come. Well, that's that. Let's all sit tight and wait for another minimum two years of one of the most powerful nations in the world being run by a mob of paranoid-schizophrenic Jesus freaks. God bless democracy.
|
|
#
?
Nov 4, 2014 23:22
|
|
|
Bicyclops posted:This is fairly true of virtually all televised science fiction, though? I mean, I know they slap either spots or forehead ridges onto most of the "aliens" on Star Trek, but they're all basically people. That's kind of the point though isn't it, other shows manage to write forehead-aliens as relatable people without having to do episodes about getting stuck in traffic and watching The Weakest Link. They make at least a token effort to belong to/interact with whatever weird space world you find them in.
|
|
#
?
Nov 4, 2014 23:40
|
|
|
Bicyclops posted:This is fairly true of virtually all televised science fiction, though? I mean, I know they slap either spots or forehead ridges onto most of the "aliens" on Star Trek, but they're all basically people. And about 99% of all written science fiction. It's difficult to put yourself into an alien mindset and when you're being allegorical (as SF often is), then the characters have to relate back to that allegory.
|
|
#
?
Nov 4, 2014 23:46
|
|
|
I agree with every word of Oxx's review and would like to state that he is a scholar and a gentleman.
|
|
#
?
Nov 4, 2014 23:49
|
|
|
Toxxupation posted:Okay since adder moray never responded either he left te thread or doesn't care and either way I think it's real hilarious that only m_gargantua got it right this round so if you can explain what made you think id grade this a c dude I'll send you a copy of risk of rain I guessed a C because I remember it being poor. That said, I do remember it. The remembering bit means it wasn't that bad. To elaborate I liked the use of mob mentality as the dangerous villian. I liked the gimmick of the mimicry to the point where it starts predicting the doctor. I liked it thematically, but the threads had a pretty good run of describing why the character interactions just don't support it. So: C Don't ask why I gave doctors daughter an A though. I don't really know. I only remembered the "creation myth" becoming distorted over the generations which is an idea I love. And Jenny was pretty. Rose colored goggles there. Still better then Rose. M_Gargantua fucked around with this message at 04:26 on Nov 5, 2014 |
|
#
?
Nov 5, 2014 00:13
|
|
|
M_Gargantua posted:Still better then Rose.
|
|
#
?
Nov 5, 2014 00:30
|
|
|
Bicyclops posted:This is fairly true of virtually all televised science fiction, though? I mean, I know they slap either spots or forehead ridges onto most of the "aliens" on Star Trek, but they're all basically people. Trek aliens were usually allegories for someone other than 1960s/80s/etc Americans though. Like Klingons were Soviets and Romulans were...Romans.
|
|
#
?
Nov 5, 2014 01:04
|
|
|
At least Rose had the decency to get locked away in another dimension, with Jenny there's always the fear she may rock up again.computer parts posted:Trek aliens were usually allegories for someone other than 1960s/80s/etc Americans though. Like Klingons were Soviets and Romulans were...Romans. Romulans were Chinese with a hint of WW2 Japan mixed in. Senor Tron fucked around with this message at 01:09 on Nov 5, 2014 |
|
#
?
Nov 5, 2014 01:04
|
|
|
M_Gargantua posted:I guessed a C because I remember it being poor. That said, I do remember it. The remembering bit means it wasn't that bad. To elaborate I liked the use of mob mentality as the dangerous villian. I liked the gimmick of the mimicry to the point where it starts predicting the doctor. I liked it thematically, but the threads had a pretty good run of describing why tr character interactions just don't support it. Ironically I believe Georgia Moffett actually auditioned for Rose. Senor Tron posted:At least Rose had the decency to get locked away in another dimension, with Jenny there's always the fear she may rock up again. Hey, Jenny has a lot of potential.
|
|
#
?
Nov 5, 2014 02:59
|
|
|
|
| # ? Jun 10, 2024 17:34 |
|
|
Regy Rusty posted:I agree with every word of Oxx's review and would like to state that he is a scholar and a gentleman. Agreed. Midnight is the best thing Davies ever wrote for the show and also the only time the show has managed to genuinely freak me out. God-drat Lesley Sharp is amazing and terrifying and if I could give her every acting award ever for her performance in Midnight I would. Occ? Oxx is completely right and I want him to hit you with a brick.
|
|
#
?
Nov 5, 2014 03:10
|
|
