No essay from me this week, but negatives first. There aren't many of them, and are largely personal in that there's always an awkwardness to me in the Doctor revelling in pop culture or being a rock musician, and yet here I can see it was the right choice. I'm not sure where the Doctor's audience in 1138 went either...

Otherwise, superlatives. Steven Moffat and company projected their most coherent vision of the Doctor Who universe so far; though I did find myself wondering if the Shadow Architect's hairdresser (probably a Judoon, come to think of it) had been killed in action since The Stolen Earth. The Maldovarium is a sorrier place for the loss of Dorium. Clara's confidence as schoolteacher and UNIT's contact radiated and Jenna Coleman's authority in the part was more than a match for Michelle Gomez's calculating tricksiness. The traps within traps were sprung and the Daleks depicted as more detached from human or Gallifreyan values while justifying their fond parent's description of them as children. Barry Norman's comparison of fifty years ago, that they are devices through which children imagine killing grown-ups, was made plain here; as was the realisation most fans have had at some time, that the Daleks are tanks (and I'll link to John Wilson's article on the subject as soon as I've identified the relevant issue of Tides of Time - [ETA it's issue 23, but I can't manage the link at present - search for "Tides 23" at tidesoftime.wordpress.com for the pdf]). Taking up the convincingly-performed but sidestepped 'Do I have the right?' speech from Genesis of the Daleks is a dangerous exercise and we'll only find how well it works next week. Otherwise, a sense of the programme trying something new and Peter Capaldi's most moving and enthralling performance in the role.

Also posted at The Event Library
nineveh_uk: Illustration that looks like Harriet Vane (Harriet)

From: [personal profile] nineveh_uk


I also feel a slight awkwardness about the Doctor turning up with an electric guitar, though part of that I think is about the Doctor as obvious performer* and would feel similarly if he were singing folk songs to a traditional guitar. But I imagine that it probably goes down well with the 10 year old audience. Overall, I enjoyed the episode very much, and was glad that one of the 'old' Who stories I've seen was Genesis of the Daleks.

Also amused that not only did Skaro precede Earth with Nazi uniforms, but apparently with the invention of Hogwarts film jumpers.

*As opposed to all the other times he is performing. Actually I feel a bit awkward about that, too, on occasion.
tree_and_leaf: Isolated tree in leaf, against blue sky. (Default)

From: [personal profile] tree_and_leaf


How do you feel about recorders?

I remember reading an interview with the woman who knitted the Weasley jumpers. She found making them sufficiently lumpy and uneven a rather painful exercise!
shyfoxling: Ravenclaw crest (Default)

From: [personal profile] shyfoxling


I'm not sure where the Doctor's audience in 1138 went either...

Was it specifically 1138? I'm tempted to make a joke about THX sound in the arena, if so.

I did find myself wondering if the Shadow Architect's hairdresser (probably a Judoon, come to think of it) had been killed in action since The Stolen Earth.

I didn't recognize her at first and thought, "Susan Sto Helit?" (granted, minus a black stripe in the hair, I suppose)

We were confused as to how Davros could have had any knowledge of Four's moral dilemma there, showing that footage from Genesis of the Daleks, but then since BBCA broadcast that, we watched that as well, and it would seem that there's some kind of CCTV setup going on in that bunker, or something! At least, it then seemed vaguely plausible that Davros could have heard of it.
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