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Now that you've indicated how close to the beginning you are get ready for a bunch of smug not-spoilery spoilers about that thread!
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Apr 20, 2015 18:30
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The_Doctor posted:Oh no, not recently. I'm waaaaay back in the Eccleston season, like, literally just started at the beginning of the thread. It's actually pretty miraculous how well people have refrained from spoiling stuff after Annekie's initial post about it. I'm just hoping we can keep it up, I love seeing his reactions to the twists especially as we get more and more river-related stuff. 
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Apr 21, 2015 04:44
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CobiWann posted:Don't know if anyone's interested, but Big Finish put a good bit of the early Blake's 7 stuff on permanent sale (like the early Who main range releasses) to make room for new stuff in the warehouse. Same. I watched most of B7 when I was a kid, but I want to commit to going back and rewatching at least S1 before ordering those era audios. I'm looking forward to it because the actors are great and this is recent era BF so I'm sure they're all awesome stories. But I've only been able to sit down and watch a few episodes. There's not enough hours in the day!
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Apr 21, 2015 05:50
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Astroman posted:But I've only been able to sit down and watch a few episodes. There's not enough hours in the day! I know! If only we had access to a time machine...
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Apr 21, 2015 10:29
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I missed the BF chat earlier, but Urgent Calls is definitely one of the best of the one-part stories.
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Apr 21, 2015 15:05
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Bicyclops posted:I missed the BF chat earlier, but Urgent Calls is definitely one of the best of the one-part stories. Colin Baker is just superb in that. I think we threw it around as the best way to induct people into the cult of C-Bakes.
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Apr 21, 2015 18:48
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 Brighton, Sussex; 1936 "Ere, listen listen, I've got one for you. There once was this bloke, you see. Good-looking sort of chap. Lovely, brightly coloured coat. No rubbish. Quality gear. Never bought a drink neither... or so they say. But his name wasn't Miller. Oh no, there'll never be another Cheeky Chappie, lady, there'll never be another. They broke the mould when they made me you know. No, this bloke called himself the Doctor. Doctor who you ask? And may well you. Don't know me self. No one ever knew. Funny that. He was a real strange one. Odd things happened when he arrived. Mind you, them were dark days. No one was laughing. And these were my people. My public. It was like playing first house at the Glasgow Empire. Just like the entire town was cursed it was. Cursed by something not of this world..." Colin Baker is the Doctor in Pier Pressure X X X X X Cast Colin Baker (The Doctor) Maggie Stables (Evelyn Smythe) Roy Hudd (Max Miller Doug Bradley (Professor Talbot) Chris Simmons (Albert Potter) Sally Ann Curran(Emily Bung) Martin Parsons (Billy) Written By: Robert Ross Directed By: Gary Russell Trailer – http://www.bigfinish.com/releases/popout/pier-pressure-244 X X X X X Doctor Who has always relied on history to help tell its stories, both with classical settings and prominent figures. The new series has seen Winston Churchill, Richard Nixon, Adolf Hitler, and Queen Victoria alongside the Doctor. Big Finish has also portrayed important men and women from the past in their audios, including Mary the First (The Marian Conspiracy), Charles Darwin (Bloodtide), and Richard III (The Kingmaker). So when a prominent comedian from the mid-20th century is a character in your production, what else is there to do but to not only seek out an expert on that comedian’s history, but actually hire him to play the part? I really wanted to like Pier Pressure. Pun intended title aside, this story is a throwback to the era of British music hall entertainment, with quick one-liners and cheeky dialogue mixed in with an alien plot to first take over an English resort town and then the world! With a reunion of the Sixth Doctor and Evelyn Smythe along with the rapid-fore wit of Max Miller, what should have been a fast-paced plot and a dash against time turns out to instead be a confusing series of events that takes way too long to come together. After the events of Medicinal Purposes and letting Daft Jamie go to his death, a certain Time Lord is in a sullen mood. Evelyn tries to cheer him up even as the Doctor insists on having a good sulk about the futility of it all. But after some friendly-but-firm needling from Evelyn, the Doctor decides that a holiday just might be in order. Not Blackpool, though. Instead, the TARDIS ends up in Brighton, circa 1936, just as tourist season is getting underway. As famed British comedian Max Miller bemoans a small and unfriendly crowd at his latest music hall performance, young lovers Emily and Albert are more concerned with the screams that echo across the Brighton pier late at night, possibly coming from the lighthouse of stage magician Professor Talbot. Only one slight problem, however. Professor Talbot has been dead for nearly fifteen years… This is the second of three Big Finish audios that Robert Ross would pen for Big Finish. The third one is another Six/Evelyn story, Assassin in the Limelight. The first one was Medicinal Purposes. Ross is well known for his work in the history of British entertainment, specifically for being one of the most renowned experts regarding the Carry On series of films. With Pier Pressure, Ross dives head-first into a well-known era; the “music hall revue,” a British counterpart to American “vaudeville.” Music halls focused on the British working-class, with boisterous songs and bawdy jokes performed for an audience enjoying food and drink. Brighton, a resort town south of London on the Channel shore, was a prominent home for the music hall revue, from its early 20th century heyday until its quiet fading away after the Second World War. As someone who grew up watching the Marx Brothers, Abbott and Costello, and Jack Benny, who all got their start in vaudeville, hearing about the British cousin to that form of entertainment was an instant story hook for me. Ross knows how to write his history; for the many flaws of Medicinal Purposes, Ross nailed the historical setting of 19th century Edinburgh during the Burke and Hare murders. He does much the same for 1930’s Brighton in terms of tourists, boardwalks and the ocean. The “music hall” aspect, though, barely comes into play aside from the presence of Max Miller. I guess I was expecting something along the lines of The Shakespeare Code from the play’s synopsis. The fact that Ross ties the fate of the Brighton pier, falling into disrepair before falling into the ocean in the 1990’s, into the story’s denouement is a nice historical tie-in. It was such a joy to hear Maggie Stables once again. Thicker Than Water is among Evelyn’s final stories with the Doctor (and her last one with Six), but that’s only speaking chronologically. In reality, there’s eight or nine stories left featuring the history professor. And it’s ALWAYS a joy to hear Colin Baker. Their first scene inside the TARDIS, with Six being his sullen, prickly self (a throwback to his time with Peri?) and Evelyn trying to cut through it all and cheer him up whether he likes it or not, was the moment that I thought Pier Pressure would be an enjoyable story. Arrangements for War and Thicker Than Water both focused on the more serious, dramatic aspect of the friendship between the Doctor and Evelyn. Pier Pressure tried to focus on the friendship itself, a welcome return to form after two good but emotionally hard hitting stories. The banter between Baker and Stables is just as good and quick as it’s always been, with Evelyn not afraid to call the Doctor out when he’s being mean, jerkish, or overly melodramatic. It’s the kind of friendship where Evelyn will do as the Doctor asks/tells her to do until it’s time for her NOT to listen to him, and Stables does a great job being tough and firm, but also lovable and kind. On the flip side, we get a Sixth Doctor that’s just a bit more like his “younger” self. The events of Medicinal Purposes have left him a bit frustrated, a Time Lord who constantly does his best but always seems to experience defeat even in victory, which causes him to be jaded, on edge, and a bit of a dick. He grudgingly agrees to a nice quiet holiday…but as soon as the Doctor sniffs a mystery, the Sixie we all know and love is back with full force. Baker is grand, putting on his standard quality performance as a Time Lord who will save the day (and lets everyone know it) with his superior knowledge (letting everyone else know, gently, that they’re wrong) and dismissing the villain’s boasting by pointing out all the clichés contained within. The problem comes not from Baker’s performance, but from the material he’s given. Much like Medicinal Purposes, the performance of Baker doesn’t quite match up with the story’s characterization of the Doctor. He proclaims about a threat that will wipe out all humanity and stresses the urgency of the matter…but the actual threat barely materializes and is easily dismissed during the story’s climax. And when the Doctor says a young lady is better off dead (as a corpse vs. a zombie), the way the words are written make the Doctor comes off as incredibly hollow and flippant. Albert, played by longtime The Bill cast member Chris Simmons, and Emily, played by Sally Ann Curran, are the young lovers who bring the problems along Brighton breach to the Doctor’s attention. Emily is fine for the time she’s alive, and fine for her short time as a zombie, and I will give credit to Simmons for making Albert a bit more than a young man in over his head, especially how he goes into shock once he realizes Sally Ann’s true fate. Martin Parsons has a small role as Billy, an actor who’s come to Brighton to learn at the knee of his friend Max Miller. Apparently, Billy was supposed to be a young William Hartnell as he mentions small parts in several movies that Hartnell himself starred in while starting out as an actor. His presence is a nice shout-out that doesn’t subtract or distract from the story. I appreciated how Billy realizes how insane the Doctor sounds and throws up his hands, walking away in the middle of the second episode and disappearing from the story in a way that makes perfect sense. Another reason I was excited to give Pier Pressure a try was the presence of Doug Bradley as the villain of the piece. Doug Bradley is a well-known actor, musician, voice artist, make-up technician, author, and is perhaps most recognized for being the Lead Cebonite from the Hellraiser movies. Or, to put it another way, he’s mother[BLEEP]in’ Pinhead. Sadly, the joy I felt at hearing Bradley’s voice quickly evaporated. As the villain of the piece, former stage magician Professor Talbot, Bradley gives a solid performance – a faded star of the stage whose grief at losing his wife made him the perfect host for an alien being looking for a new home that his species could inhabit. Bradley channels the evil pride of the alien, the confused but ambitious side of Talbot, and the slickness of a man playing all sides for his own benefit. Sadly, while Bradley pulls these quick switches in character off off, the script doesn’t even come close. We see all these sides of Talbot, but they come so fast, so quickly, and so out of time with the scene he’s in that the listener soon becomes confused. Is Talbot a good man who made a poor decision? A evil man who made a deal with the devil? A man who simply craves what he’s lost and will do anything to get it back? It’s impossible to get a grip on Talbot’s character because the script jumps back and forth so much. Instead of a man trying to comes to terms with him, we get a man who has no true identity, and therefore the listener can’t get a true handle on the character…which is a problem when that character is your lead villain! The highlight of the story might be a lowlight for others. If you’re not a fan of cheeky dialogue, a character who can’t shut up, and a man so in love with himself that everyone else loves him, then Max Miller is not for you. On the other hand…if you’re like me, he’s the best part of the story. Max Miller, aka the Cheeky Chappie, is often considered to be the greatest stand-up comic of his generation, a man who always did his best to get around the censors with his risqué material and packed them in during variety’s golden age. Roy Hudd is well known in Britain as not only as a historian of the entertainment industry (much like Robert Ross), but also as a dead ringer when it comes to impersonating Miller. From what I found online for Mr. Miller, Hudd NAILS the part as we see Miller early in his career, when he star was beginning to ascend but he was still barely scraping by and having his off-nights on stage. Hudd dominates when he’s in a scene, for good or for ill (good for me, possibly ill for others) and his repartee with Evelyn, who knows his fame but still won’t put up with his cheeky nature, is a sight to behold. There’s also a great scene where Max asked the Doctor if he’s from the BBC and the Doctor replies that the BBC doesn’t know that they have a good thing until it’s gone! How close Max Miller is to one’s style of humor will affect how they perceive Hudd’s turn, but there’s no denying that Hudd IS Max Miller in this story. The sound work on this one is a mixed bag for me. While the background noises are once again well done, putting the listener right in the resort village during a quiet weekend with seagulls and crashing waves, the musical score...well, there are several times where the music clashes very hard with the scene it’s playing over. Oh, it’s good, it’s light and fluffy, it fits the era, but when the Doctor is talking about the gravest of threats, is that REALLY the time to have jaunty calliope music as your “ominous” theme? There are two major problems with Pier Pressure – an inconsistent story and the fact that said story is INCREDIBLY. FREAKING. SLOW. To put it in Elcor, “Firm statement: This serial is too languid for my taste.” Gary Russell really needed to take more control over this story. A firm directorial hand might have eliminated some padding, tightened up the rambling and contradictory nature of some of the dialogue, and focused the solid performances into something coherent. The Doctor rants about how this alien threat under the seas of Brighton is one that threatens the entire human race, but aside from turning one girl into a zombie and mind controlling Max and Evelyn at one point, there’s no sense of tension when it comes to these aliens, which is especially noticeable by the “blink and you might miss it” climax, a climax whose set-up takes much longer than the actual heroic sacrifice. And actually GETTING to that climax involves a long slog through a lot of padding. Never mind some of the weakest cliffhangers Doctor Who has ever seen, there is entirely too much “I don’t believe you” going on, mixed with Talbot arguing with himself for what seems like ages in a very dull manner as the listener “wonders” who is really in control of the magician’s body, and a HUGE scene transition that never takes place, as the third act cliffhanger resolves itself off-screen with everyone back in the TARDIS! If there ever was a story that cries out like a seagull for a halfway decent script editor, it’s Pier Pressure, as what could have been a neat little story with a fun historical figure instead serves as a low water mark for Six’s Big Finish run.  Synopsis – Pier Pressure fails to live up to half its name by neglecting to provide any pressure or tension to its characters or their actions, instead choosing to just sit by the dock of the bay wasting the listener’s time. 2/5 Next up - A remote Scottish mansion. Five bickering academics are haunted by ghosts from their past. Reluctantly they offer shelter to the Doctor and his companions Ace and Hex... Sylvester McCoy is the Doctor in…Night Thoughts
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Apr 21, 2015 20:12
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In the rather unlikely case you needed yet another reason not to vote for UKIP[1] [1]You know, alongside the racism, homophobia, anti-immigration, bigoted views, etc, etc.
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Apr 21, 2015 21:33
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If they aren't careful, Doctor Who will make an episode depicting them with brightly colored hair and a candy monster.
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Apr 21, 2015 21:40
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The_Doctor posted:In the rather unlikely case you needed yet another reason not to vote for UKIP[1] Weirdly there doesn't seem to be any UKIP donors that have TV production companies. I would have assumed this was a Richard Desmond inspired policy but I forgot that he sold his interest in Channel 5 in 2014. Edit: The fact I can go to the electoral commission's website and download a CSV file full of donor data is pretty great.
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Apr 21, 2015 21:45
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CobiWann posted:Synopsis – Pier Pressure fails to live up to half its name by neglecting to provide any pressure or tension to its characters or their actions, instead choosing to just sit by the dock of the bay wasting the listener’s time. 2/5 Yeah, this story is really forgettable and inconsistent, and if it wasn't for Max Miller I'd say it had absolutely nothing to recommend it. Even with him, I wouldn't recommend listening to this story unless you just want to be a completionist and listen to EVERYTHING (like me  )
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Apr 21, 2015 22:56
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Does an official soundtrack for series 8 exist?
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Apr 21, 2015 23:01
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Thunderfinger posted:Does an official soundtrack for series 8 exist? It's coming out next month. Three discs, covering the whole series and Last Christmas.
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Apr 21, 2015 23:06
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 Exotron suffers from the same pacing issue that I.D did - it's a three episode story where the first two episodes are paced for a "regular" story, and then the third episode suddenly just wraps everything up. Featuring Peter Davison and Nicola Bryant as the 5th Doctor and Peri (no Erimem) it's still little more than a one-man show as the Doctor accomplishes most everything while Peri just kind of worries a lot while spending all her time with two guest characters, only one of whom actually has anything resembling a character/direction. It's a story about obsession, guilt and responsibility but is thrown entirely off-balance by the last minute arrival of a replacement antagonist who blasts onto the scene chewing the scenery and being aggravatingly smug without having put in any legwork in the previous episodes, then departs just as rapidly without anything but a vague note by the Doctor that he'll "probably" get what is coming to him at some point down the road. The Doctor brings Peri to an alien planet where she actually gets to indulge in her "passion" for botany, a passion referenced but almost never demonstrated on the actual television series. She's excited by the various plants she finds, excitedly explaining them to the Doctor who with great restraint points out that he does know a thing or two about botany himself. Still, this trip is for Peri's benefit, so he puts up with it all, and is reduced to the baggage man as he carries about all her samples as she continues on through sand dunes of this mostly desert planet. As they walk though, she is bemused to hear him complain that he's not a wheelbarrow, only to discover that he didn't say that at all, he thought it - it seems that due to some reason the Doctor can only currently theorize, Peri was able to read his mind.  Yes, I'm sure Peri really has trouble reading men's minds. They encounter a pair of workers on a pylon, but before they can introduce themselves to the jovial, working-class pair, a rumbling warns of an impending attack by the giant hyena-like Farakosh. The female worker is killed and the male pinned beneath the wreckage, and the Farakosh has been knocked momentarily prone, which leaves it defenseless as it is brutally put down by a giant robot called an Exotron, remote-piloted from the workers' base. When the Doctor loudly denounces this as murder, the Exotron reacts unexpectedly by grabbing him up and hauling him away, leaving Peri to try and save the survivor - Shreeni - aided by the unexpected arrival of Paula, head of the Geological Team, who saves them both from being electrocuted by Peri's hasty rescue attempt. From here the story mostly sticks with two separate strands that briefly touch on each other at a couple of points in the narrative. The Doctor is accused by the head of the base - Major Taylor - of being a meddler from "Earth Authority" come to stick his nose into the terraforming project taking place on this planet, and most particularly into the Exotron program. The Doctor eventually figures out that the Exotron's aren't being remote piloted in conventional terms, but are telepathically run by Taylor, who is suffering under the stress of having his mind stretched out across multiple different Exotron units in various different parts of the base and surrounding area. Taylor is also stretched out thin by the guilt of his actions, not least of which is that he has been receiving illicit funding from Secretary for the Interior Ballentyne, bypassing any number of ethical and legal restrictions on his work which Ballentyne intends to sell out to the military at an enormous profit. Taylor's obsession and guilt drive the narrative, he is obsessed with making the Exotron program a success, guilty over his criminal behavior, even guiltier over the gulf it has caused between himself and his ex-wife (Paula) and guiltiest of all over the terrible secret at the core of the Exotron program - a rather disturbing revelation somewhat flattened by the fact it has happened in multiple other Doctor Who stories, both classic, revival (some which hadn't been written at this point, to be fair) AND Big Finish itself. As the Doctor attempts to escape arrest, infiltrate the mysterious telepathic field overriding the entire base, and get through to Taylor the necessity of shutting the Exotron program down, Peri is busy with Paula and Shreeni just trying to survive. The second strand of the story is mostly Paula's, with Peri along for support and Shreeni mostly present to gently caress things up or offer up some comedy. Paula is played by Isla Blair, wife of Julian Glover, and she is absolutely fine in her role, she just doesn't get much to work with. Paula is a no-nonsense women torn between disgust at her ex-husband's actions and guilt at her part in the collapse of their marriage. Headstrong, she refuses Exotron escorts and sneaks out of the base to continue her work unhindered, which has lead her to discover the Farakosh are not hostile unless in the presence of the Exotrons or the relay pylons dotting the desert landscape. With Peri, the two figure out what is causing the Farakosh hostility (the only part of the story were Peri really achieves much of anything, sadly) and comes up with a solution, only to be "saved" by the Exotrons which causes everything to spiral further out of control. The two strands of the story hurriedly combine again here, as the Doctor is able to infiltrate the telepathic field surrounding the base and the Farakosh are finally able to communicate with the humans. With Taylor gaining some perhaps undeserved redemption for his rather horrible actions, Ballentyne shows up as the new central antagonist of the story and completely tilts the story of its axis - despite an earlier appearance he is an "alien" to the narrative so far, and his sudden arrival and gleeful wrecking of the situation and vengeful gloating towards the Doctor feels completely out of place. With another episode to breath this might have been pulled off, but Taylor's defeat/quasi-redemption, Ballentyne's arrival, the eruption of violence, the resolution of that violence, the escape of Ballentyne and the wrapping up of events all happens in the space of a single episode. It's all too much, too fast, and everything feels far too smoothly resolved, with the Doctor and Peri leaving almost as quickly as they arrived after a whirlwind visit of death, destruction and redemption. None of the themes are properly explored, events don't have time to settle in, the seriousness of the situation never gets a chance to sink in for the listener before it is all over. In that respect, Exotron is a disappointment, though not a particularly memorable one. Urban Myths is a one-off that fills up the space of the "missing" episode. Unfortunately unlike Urgent Calls it doesn't quite work, again stuffing too much into a single episode that could have fit far better into a regularly paced episode. Three agents of the CIA (Ugh I hate that "clever" name for the "Celestial Intervention Agency" so much) have come to Earth to execute the Doctor for genocide, a result of his actions on the planet Poytee. As they wait for the Doctor to arrive in a particular restaurant (according to their superiors, an examination of the Doctor's timeline indicated he would be there) they discuss the Doctor's crimes, and all three are surprised to discover they remember his actions in entirely different ways. As they go through each course of their meals, a different Agent tells a different story, with the Doctor and Peri's actions on Poytee becoming less bloodthirsty and more altruistic with each telling. The best part of this story is in getting to hear Davison and Bryant perform their familiar roles in vastly different ways, particularly in the first telling where they are cruel, callous and laughing sociopaths engaging excitedly in murder. Unfortunately the connecting scenes aren't so good, as the three actors playing the Agents ham it up in a way that is more frustrating than enjoyable - one is a gluttonous snob, another a timid and nervous young woman, the third a hard-nosed working class thug. If each character had been given their own episode to shine, to tell their side of the story across three episodes and then have the fourth reveal the truth, this could have been quite an interesting experiment. Instead everything is so rushed and forced that it loses all impact, and in a little over twenty minutes three alternate takes on the story have been revealed, discarded, and the truth reached. The Doctor reveals himself, he and Peri having orchestrated everything, and the episode ends on a comedic note as the Doctor reveals he was only able to pull off his scheme by "volunteering" Peri to continue on as a waitress at the restaurant for another week. Continuing the "virus" theme from the previous one-off story, this episode doesn't quite pull off the gimmick as effectively as the previous, but its biggest problem is that it is a story that would have possibly worked much better in the traditional "classic" format of four 22 minute episodes.
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Apr 22, 2015 05:25
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Fil5000 posted:Weirdly there doesn't seem to be any UKIP donors that have TV production companies. I would have assumed this was a Richard Desmond inspired policy but I forgot that he sold his interest in Channel 5 in 2014. It's because they're obsessed with the idea that the BBC is a lefty-invested hive mind that is systematically conspiring against them (which is, of course, nonsense - the BBC have given them far more exposure than they would otherwise warrant, especially compared to left wing parties or trade unions)
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Apr 22, 2015 07:21
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I can't freakin' believe Occ gave Night Terrors an A.
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Apr 22, 2015 07:53
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DoctorWhat posted:I can't freakin' believe Occ gave Night Terrors an A. I think by this point he's trolling the HELL out of you guys, especially after he have a B to the previous episode. He's gonna give an "F" to The God Complex, I just know it. CobiWann fucked around with this message at 12:19 on Apr 22, 2015 |
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Apr 22, 2015 10:38
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I wish people wouldn't focus so much on the letter grades, because he lays out very lengthy observations that explains why he feels the way he does about a particular episode, what worked for him, what didn't, how that comes together overall for the story (and the season as a whole once he's finished the lot) and then he slaps on a grade at the end of it and people seem to just latch onto whatever that is . For me, Night Terrors really IS a pretty good episode, it's just not particularly flashy or what you would call a super-integral/"important" episode - it's just a standard episode of Doctor Who delivered competently with above average visuals that aid the creepy atmosphere, and a very positive moral lesson attached to the end. It has problems for sure, but it's not got any aggressively bad elements to it like other stories do, and if this was as bad as a Who episode ever got, I'd count myself lucky.
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Apr 22, 2015 10:50
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Yeah, that makes sense, J-Ru. My comment was a bit unfair to Occ. I've done my best to stay out of that thread because I coul spend all day in there. From what I've seen Occ's done a very good job in laying everything out, explaining why he thinks what he does, connecting the dots, and bringing it all together in the end... ... ... ...oh my God. 
CobiWann fucked around with this message at 12:27 on Apr 22, 2015 |
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Apr 22, 2015 12:19
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I like Night Terrors. But Jesus. H. Christ, I'm back to listening to the Eighth Doctor Adventures and the Eight has loving amnesia again. I get that it's probably an inside joke at this point but come on!
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Apr 22, 2015 13:45
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One of my favorite things about Other Lives was the subplot wherein someone is absolutely convinced that the Eighth Doctor is her amnesiac husband when, for once, he doesn't have amnesia at all.
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Apr 22, 2015 14:07
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Bicyclops posted:I like Night Terrors. My favorite quote from a Jerusalem review (Something Inside)... quote:Something Inside is.... oh for gently caress's sake he's got amnesia again.
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Apr 22, 2015 14:17
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If I took a drink for every time he had amnesia, I'd have amnesia myself, from developing Korsakoff's syndrome.
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Apr 22, 2015 14:19
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https://www.youtube.com/watch?v=YoCRRWdXpT4
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Apr 22, 2015 14:26
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The only thing I ever thought was wrong with Night Terrors was that the monsters were kinda cliche.
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Apr 22, 2015 17:55
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"Night Terrors" wasn't bad, but it doesn't stand out for me as much in retrospect. I think "The God Complex" is my favourite episode from the back half of season six.
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Apr 22, 2015 20:31
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Bicyclops posted:But Jesus. H. Christ, I think you mean "Jesus H. Bidmead".
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Apr 22, 2015 20:34
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DoctorWhat posted:I think you mean "Jesus H. Bidmead". No, no, no, it's "Jesus H. Christopher Eccleston". You know, from Russell T Davies's popular BBC drama serial Second Coming?
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Apr 22, 2015 22:03
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Wheat Loaf posted:"Night Terrors" wasn't bad, but it doesn't stand out for me as much in retrospect. I think "The God Complex" is my favourite episode from the back half of season six. God Complex and The Girl Who Waited are both absolutely amazing episodes, amongst the best of the entire revival, and I feel like they get overlooked a bit because they're in season 6 which was overall such an uneven mess.
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Apr 22, 2015 22:56
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Seasons six and seven both had good individual episodes let down by weakish season arcs. I sort of feel the same about season eight, but I think it was less of a story arc than a character arc for Twelve.
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Apr 22, 2015 23:44
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I think that's fair, though I'd say that the first half of season 8 was predominantly the Doctor's character arc, and while that continued through the back half too, the latter part was more devoted to Clara's character arc (though the Doctor felt complicit in that).
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Apr 22, 2015 23:48
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Jerusalem posted:God Complex and The Girl Who Waited are both absolutely amazing episodes, amongst the best of the entire revival, and I feel like they get overlooked a bit because they're in season 6 which was overall such an uneven mess. I've alway said the peaks of season 6 are the best the show has ever been, but the lows are really loving low. But for a while because of those peaks I considered six a better season than five.
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Apr 23, 2015 00:01
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Tomtrek posted:It's coming out next month. Three discs, covering the whole series and Last Christmas. Is there any way to know when it's going to be on Spotify? I LOVE some of season 8's themes, and would love to add them to my general playlist.
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Apr 23, 2015 04:59
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NY GOONS DO YOU WANNA MEET ROB SHEARMAN? COME TO BROOKLYN ON TUESDAY https://www.facebook.com/events/496114770542536/
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Apr 23, 2015 08:36
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Jerusalem posted:I think that's fair, though I'd say that the first half of season 8 was predominantly the Doctor's character arc, and while that continued through the back half too, the latter part was more devoted to Clara's character arc (though the Doctor felt complicit in that). The two-part finale, at least, definitely feels like it's about both of them: Twelve discovering his answer to "What kind of man am I?" and Clara saying goodbye to Danny.
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Apr 23, 2015 14:14
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Jerusalem posted:God Complex and The Girl Who Waited are both absolutely amazing episodes, amongst the best of the entire revival, and I feel like they get overlooked a bit because they're in season 6 which was overall such an uneven mess. Honestly, I really think that it would've been better if the order were reversed, and The Girl Who Waited was the last straw that sent the Ponds home. I mean admittedly as is it still reads that way, but it's kinda dulled. Although on the other hand, Girl Who Waited is probably better served by not having the fond farewell ending, so... eh, I dunno. Maybe if they'd just linked back Rory's desire to leave in God Complex to the horrible experience of Girl Who Waited more explicitly. MikeJF fucked around with this message at 15:53 on Apr 23, 2015 |
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Apr 23, 2015 15:48
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MikeJF posted:Honestly, I really think that it would've been better if the order were reversed, and The Girl Who Waited was the last straw that sent the Ponds home. That’s a good point. To me, the episode order works because Rory is travelling with the Doctor because of Amy. Amy is travelling with the Doctor because he’s been a vital part of her life for so long that it takes her faith in him being broken to send her home. The_Doctor posted:I would want to read that. I should go. All I'm saying is, imagine Turlough driving the Mako. CobiWann fucked around with this message at 19:48 on Apr 23, 2015 |
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Apr 23, 2015 16:47
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MikeJF posted:Rory's desire to leave in God Complex Haha, I always forget that the hotel in that episode traps everybody in a never-ending maze and confronts them with their greatest fear, but with Rory it just goes,"gently caress it, here's the exit, please leave because I can't do anything that would even give you pause."
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Apr 23, 2015 22:00
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Jerusalem posted:Haha, I always forget that the hotel in that episode traps everybody in a never-ending maze and confronts them with their greatest fear, but with Rory it just goes,"gently caress it, here's the exit, please leave because I can't do anything that would even give you pause." To be fair that's because it's trying to make people turn to whatever they have faith in, and Rory doesn't have faith in anything to that extent so scaring him would be pointless.
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Apr 24, 2015 04:31
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Organza Quiz posted:To be fair that's because it's trying to make people turn to whatever they have faith in, and Rory doesn't have faith in anything to that extent so scaring him would be pointless. 2000 years spent sitting next to an inert box takes a lot out of you.
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Apr 24, 2015 04:50
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