Doctor Who [12]
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Re: Doctor Who [12]
by azriel Mon Nov 30, 2015 3:41 pm
I see the girl did her best to make us notice the book in front of her 
Peejers acting ? Meh ! Capaldi ? yee ha ! Dalek ? 
( he was after the wrong "enemy" tho )
Peejers acting ? Meh ! Capaldi ? yee ha ! Dalek ? ( he was after the wrong "enemy" tho ) _________________
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Re: Doctor Who [12]
by malickfan Mon Nov 30, 2015 4:06 pm
azriel wrote:I see the girl did her best to make us notice the book in front of her
Well, as I've explained in tedious detail on other threads The Silmarillion isn't likely to be adapted by Jackson or anyone for decades so you don't need to worry/hope about that (he probably put it in deliberately to annoy angry sad fans like us
), I've always enjoyed Jackson's acting, cheesy and over the top but you can clearly tell he's in on the joke, having fun, what's the point in doing a director cameo if you don't draw attention to yourself?...he's definitely a better actor than me at least! I think Jackson is a very talented director (despite the issues I have with TH, it still has more spirit and effort put into it than most blockbusters) he's a big Who fan, and assuming this happens, working to a smaller budget/tighter deadline could bring back some the visceral energy and creativity he displayed in his earliest films, New Zealand would make a very pleasant change for the show, watching Welsh Quarries and London get invaded every week gets a little boring sometimes...
_________________
The Thorin: An Unexpected Rewrite December 2012 (I was on the money apparently)
The Tauriel: Desolation of Canon December 2013 (Accurate again!)
The Sod-it! : Battling my Indifference December 2014 (You know what they say, third time's the charm)
Well, that was worth the wait wasn't it
I think what comes out of a pig's rear end is more akin to what Peejers has given us-Azriel 20/9/2014
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Re: Doctor Who [12]
by Mrs Figg Mon Nov 30, 2015 5:19 pm
malickfan wrote:Remember how their were rumours floating around that Peter Jackson wanted to direct an episode of Who? He's posted a video response to Steven Moffat on his facebook page, with a a few special guests:
https://www.facebook.com/PeterJacksonNZ/videos/vb.141884481557/10153602968491558
(And yes that is a heavily bookmarked copy of The Silmarillion on the table in front of him...)
that was brilliant! 
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Re: Doctor Who [12]
by Amarië Mon Nov 30, 2015 6:13 pm
i think he saw that movie and exploded.
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-Mrs Figg
"Everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth."
-Marcus Aurelius
#amarieco
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Re: Doctor Who [12]
by Pettytyrant101 Mon Nov 30, 2015 9:39 pm
Wherever I have been I am back again. So don't bloody ask! 
- Spoiler:
I am going to state right from the off here that in my opinion Heaven Sent was among the best 55 minutes worth of television I have seen in a long time. The best 55 minutes of Who yes but the best 55 minutes of television in general.
In what was a tour de force from all concerned we got an intimate portray of grief, guts, nightmares, fate and more than a touch of philosophical thought thrown in for good measure. And time to contemplate it.
This is an episode which is audacious from the word go, beginning with the seeming arrival of the Doctor immediately following the events of last week, only unknown to the viewer, and the Doctor we see, its actually 7000 years later. But that's just the start of the puzzles.
The puzzle box castle the Doctor finds himself serving out his own personally hell in could almost be a metaphor for the show itself, constantly re-jigging its parts, constantly changing, and the Doctors lamented cry of how long can I keep doing this? How long can I keep burning the old me to create the new, could be seen as regeneration and the show itself which burns through cast and crew aliike and yet maintains.
Maintaining. There's a lot to be said for that. The Doctors opening lines in this episode are one of his usual heroic calls to arms, ending with 'I am the Doctor, and I am coming to find you and I will never stop.'
We've heard similar before of course, the unrelenting Oncoming Storm of RTD era, the fear of him instilled in his enemies in Pandorica and Good Man Goes to War- here we see why. When he says he will never stop he really means it, as we get to see as he endures 2 billion years of a repeated personal hell.
And why? Because he always wins, as his mental image of Clara reminds him. Even at the greatest of personal costs, he will find the way to win- even if the only way is through hell.
And here we see just how much he will endure for that. And we see what it is that drives him on.
Which brings me to Clara, or the back of Clara as she is for most of this episode, communicating only by writing on a blackboard, teacher, friend and echo of 12 himself.
Where does the Doctor finds his solace? In his TARDIS showing off to his companions, making them laugh, impressing them.
And it could be any companion standing there- Rose, Sarah Jane, Jamie- they all serve the same purpose to the Doctor. Clara is just the latest and rawest grief. And like all companions she is his touchstone and his springboard. Never before has the relationship been so explicit and intimately explored yet in such a simple fashion.
But then this episode positively brims with memorable imaginary and ideas.
It would have been so easy to have imagined the Doctors pursuer, his greatest nightmare as a Dalek or some such, but to instead pluck from the Doctors childhood nightmares a real memory- of the corpse of an old woman who had been covered in a veil, yet the flies still came for the flesh- lent the whole thing a personal level of trauma. The Doctors fear palatable on his face as he realised what was stalking him through the corridors.
The sea bed of his skulls, their revelation and significance beautifully set up in the wonderful, exhilarating sequence where we see the Doctors thought process at work after he leaps from the window: a fantastic sequence crammed with ideas in itself and shot with a verve and energy that makes the heart pump watching it.
This is brave television- we see the suffering of our hero and main character in pronged detail. Here grief is not brushed aside but keenly felt. Reminders of his loss are everywhere, from the initial flash of Clara's death at the start to the fading painting of her on the wall and her ghostly presence in the mind of the Doctor, still driving him on, still teaching. Still being the reason he will not give up the fight when all he wants to do is give in finally and be at rest.
And as metaphor for grief the Doctors hell with his two billion years slowly and agonisingly punching through a wall of crystal its hard to think of better or more fitting for the Doctor. He could have left himself the spade, but then where's the self punishment, where's the Doctor's self loathing- Clara's death his his fault and he knows it and the punishment he meets out to himself is almost unbearable to watch. Capaldi puts so much into every punch thrown, so much pain etched n that face with every blow struck. And yet the determination to keep going never falters.
And what makes all this pain bearable is this episodes three strongest points: the central performance of Peter Capaldi, the words of Steven Moffat and the direction of Rachel Talay, and special mention most also go to whoever was sat in the editors chair too.
This is beautifully shot. Talay does an outstanding job of knowing when the piece needs the actor to have space to act and when the direction neds to lead the story, and she hits every note perfectly.
Note to mention shooting a piece with only one actor most of the time.
Of particular note is the final montage sequence which not only drives home just how long the Doctor has been doing this (and was I think more effective in conveying the time frame than 11's time on Trenzalore was) and also building to a climax whilst hitting all along the way al the pieces of the puzzle and knocking them into place in one haw dropping revelation after another.
Here the writing, editing and directing come together sublimely.
Each image chosen is one which, in retrospect, has new meaning- the Doctors full speech on arrival is given again- emphasising just what it truly means when the Doctor tells you he is coming for you and he will never stop. The dropping of the spoon when he realises what may be going on. Amd most painful of all, when he remembers all the his previous selves towards the end reliving this agony and has his begging plea in his mind TARDIS, why cant he just lose this once? And most painful of all, “I can't keep doing this” that whole sequence and speech takes on a whole new context and depth of pain in light of what is actually happening to him. And the scope of it is horrific and layed out in all its personal horror by Capaldi with every nuance and fibre of his being.
And this is where I talk Capaldi, or the Doctor as he doesn't perform here he embodies.
To carry an entire episode as essentially the only character with any dialogue is a trick and a half. The closest Who has come to attempting anything vaguely similar before is the opening episode of 4th Doctor story the Deadly Assassin.
But this is on a whole different level, Capaldi is the driving force behind this entire episode, we are with him and listening to him almost the entire 55 minute running time. And he captures the narrative and runs with it and never lets go, taking the viewer with him utterly. In a performance of personal suffering, overcoming grief and guilt, and as a epitome of the underlying defining traits of the Doctor its a performance I cant find fault with. He covers all the necessary emotions here with a natural ease that makes you forget there is a performance, just the Doctors suffering and pain and in the end his indomitable spirit shining through brighter than the crystal wall he smashes through to freedom.
This is probably Steven Moffats finest single script for Who. If he were to retire now it would be a perfect capstone on his style of story telling. This was a twisty timey wimey tale with no timey wimey, no cheats, no lies. No tricks. There was no get out of jail free card here, this is a story of endurance through pain, grief, loss, fear, hope, endurance, will, death and facing death. And all wrapped up in a scifi premise and put out on a Saturday night right after Peter Andre danced a cha-cha-cha or something. Audacious? Damn right, Just as Who should be.
And as an additional thought- well done Murray Gold, his soundtrack was as daring and different from his usual style as the episode itself was. And it matched the themes and moods perfectly, quieting down when not needed and driving the story along when required too, and mixing everything from gothic to what sounded very much like 1980's classic era Who radiophonic workshop.
Talking classic the Tom Baker was strong in this one!
This was exactly the sort of weird, creepy as hell, slightly disturbing, imaginative Who that got me hooked a s a child in the first place.
Also to those saying the show has forgotten about the kids. Have you actually asked any what they thought?
I have and they bloody loved it, terrified, adored Capaldi (my 7 year old niece wanted to hug him when he broke down over Clara being gone) best of the series was the view.
And the 'what did the kids think' thread over on Gallifrey Base seems to be painting a similar picture of responses from the little uns.
Never underestimate children.
As someone somewhere once said about Who, its not imaginative children in the audience you have to worry about, its sour old adults who have lost their imagination and forgotten what it was ever like to have one as a child, that's who you have to watch out for.
For me this was easily the standout episode of the series so far. Possibly of NuWho. And a contender for best episode of Who full stop.
If I have a criticism its only that the ending, with the Time Lords, which I had worked out was coming last week, didn't have as much of an impact as it should have had, simply because for me the revelations of the Doctors time in his own purgatory, the climatic series of revelations leading up to to his final punch through the wall, and all that moment meant for the character, were bigger emotional high points. Gallifrey just couldn't top what had already come before it- and that's saying something in itself about the quality of what did come before.
Now you know my thoughts, heres what the professionals made of it-
Den of Geek - 'Doctor Who series 9 is rolling the dice. And more often than not, as it does this week, it's winning...This is Steven Moffat on very good form. He's being confident and clever with time, without zipping backwards and forwards and asking us to hold on. There’s an inherent trust that the audience is on board with what he’s doing, and – in a recurring theme this series – there's a genuine gamble with format and story....And it goes without saying – but still should be said – that Peter Capaldi is quite brilliant again...Heaven Sent? I liked it a lot, for its entrusting of Peter Capaldi, and for its entrusting of us as viewers.'
The Independent- 'that doesn't mean Heaven Sent is a wholly satisfying episode - but it is one of the most uncompromising pieces of TV the show has ever done... Heaven Sent is positively avant-garde in its themes, tone and execution. It's an episode and a story that offers very little concession to an audience's expectations, and as a result is likely to be loved and loathed in equal measure. But an episode this esoteric needs to be taken on its own terms, and even if next week's season finale casts Heaven Sent in a different light, it's difficult not to be begrudgingly impressed even if it left you baffled, if not outright frustrated....Steven Moffat's taut and teasing script is full of wonderful concepts and imagery...Whether spitting righteous indignation or breaking down in despair as he faces the reality of (and his part in) Clara's death, Capadli is never less than razor sharp and wholly convincing, taking the character to dazzling new heights... It's difficult to argue that's what going on in Heaven Sent isn't brilliant, because it clearly is. From an artistic and technical standpoint, everything's there – from the writing to the sound to the acting, and definitely to Rachel Talalay’s brilliant direction. If you like your Berman and your Beckett you’ll probably get a hell of a lot more out of it than if you tuned in expecting ray guns and rubber monsters.'
IGN 9.5/10 - 'A great episode of Doctor Who that serves to bring this mostly excellent season towards its finale, “Heaven Sent” features a breathtaking one-man show from Peter Capaldi and a twist-ending that makes this one of the best episodes of the modern series’ run.'
The Nerdist- 'One of my favorite things about Steven Moffat‘s best Doctor Who scripts is that you don’t know what the hell’s going on until you know what the hell’s going on. He has the ability, when he tries, to make mysteries in which all the clues are there to be solved, but the context for them hasn’t been revealed yet. Like a clockwork puzzle box, every piece fits together just so until it all hums along and finishes its cycle. Series 9 episode 11, “Heaven Sent,” is exactly this type of episode, and it’s, I think, one of Moffat’s crowning achievements....need I even say it, Capaldi knocked this whole episode out of the park... “Heaven Sent” is another huge win in a series that’s already produced some stone-cold classics. This is a special episode, and one that I think could only happen after a showrunner, and a show for that matter, have been around for a very long time. When Moffat focuses on telling a good story and doesn’t focus on too many cutesy inside references, he’s still one of the best in the game.'
Radio Times 5/5 - 'I’m calling it now: this is an instant classic....This is Peter Capaldi’s hour and he has earned it...he has made the role his own, subtly made his cranky interpretation more loveable, and now he’s been rewarded with the chance to shine with no one else to play off.... The Moff has structured the narrative with his trademark intricacy. Capaldi plays it to perfection – in the moment, every moment. Rachel Talalay (who directed last year’s two-part finale) steeps the production in atmosphere and sustains the momentum right until the final revelations. And Michael Pickwoad has designed and lit some magnificent sets... When it finally sinks in for the viewer that the Doctor has already been in this trap an incredibly long time – 7,000 years – it’s jaw-dropping.'
The Express - 'Peter Capaldi managed to carry off the whole thing without it feeling too weird. He led us through this adventure, which was an exploration of grief and the fear of death.
The instalment turned out to be far scarier than we were expecting. The thing in the veil, with all the flies buzzing around it, is something that is going to leave many people quite disturbed – and not just children....Heaven Sent was sad and terrifying and perplexing (in a good way) by turns and for a split second you actually thought the Doctor was going to remain trapped in his own personalised torture chamber within his confession dial.'
Metro - 'As the first part of a series finale, Steven Moffat takes a bold step by stripping his story back to its bare bones and putting the burden squarely on Peter Capaldi’s shoulders. And Capaldi delivers 100%, carrying every scene and showing every facet of his Doctor: anger, terror, playfulness, intensity, resignation and, finally, a fierce refusal to do anything other than do what he has always done: find a way to win. It’s a beautifully textured performance, underpinned by a superb new musical score from series composer Murray Gold'
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Warning may contain Wholesome Tales[/b]
A Green And Pleasant Land
Compiled and annotated by Eldy.
- get your copy here for a limited period- free*
https://drive.google.com/file/d/1yjYiz8nuL3LqJ-yP9crpDKu_BH-1LwJU/view
*Pure Publications reserves the right to track your usage of this publication, snoop on your home address, go through your bins and sell personal information on to the highest bidder.
Warning may contain Wholesome Tales[/b]
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Re: Doctor Who [12]
by bungobaggins Mon Nov 30, 2015 10:56 pm
malickfan wrote:Remember how their were rumours floating around that Peter Jackson wanted to direct an episode of Who? He's posted a video response to Steven Moffat on his facebook page, with a a few special guests:
https://www.facebook.com/PeterJacksonNZ/videos/vb.141884481557/10153602968491558
(And yes that is a heavily bookmarked copy of The Silmarillion on the table in front of him...)
Wow, even more incentive for me to not watch this show.
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Re: Doctor Who [12]
by Mrs Figg Mon Nov 30, 2015 11:29 pm
Pettytyrant101 wrote:Wherever I have been I am back again. So don't bloody ask!
- Spoiler:
I am going to state right from the off here that in my opinion Heaven Sent was among the best 55 minutes worth of television I have seen in a long time. The best 55 minutes of Who yes but the best 55 minutes of television in general.
In what was a tour de force from all concerned we got an intimate portray of grief, guts, nightmares, fate and more than a touch of philosophical thought thrown in for good measure. And time to contemplate it.
This is an episode which is audacious from the word go, beginning with the seeming arrival of the Doctor immediately following the events of last week, only unknown to the viewer, and the Doctor we see, its actually 7000 years later. But that's just the start of the puzzles.
The puzzle box castle the Doctor finds himself serving out his own personally hell in could almost be a metaphor for the show itself, constantly re-jigging its parts, constantly changing, and the Doctors lamented cry of how long can I keep doing this? How long can I keep burning the old me to create the new, could be seen as regeneration and the show itself which burns through cast and crew aliike and yet maintains.
Maintaining. There's a lot to be said for that. The Doctors opening lines in this episode are one of his usual heroic calls to arms, ending with 'I am the Doctor, and I am coming to find you and I will never stop.'
We've heard similar before of course, the unrelenting Oncoming Storm of RTD era, the fear of him instilled in his enemies in Pandorica and Good Man Goes to War- here we see why. When he says he will never stop he really means it, as we get to see as he endures 2 billion years of a repeated personal hell.
And why? Because he always wins, as his mental image of Clara reminds him. Even at the greatest of personal costs, he will find the way to win- even if the only way is through hell.
And here we see just how much he will endure for that. And we see what it is that drives him on.
Which brings me to Clara, or the back of Clara as she is for most of this episode, communicating only by writing on a blackboard, teacher, friend and echo of 12 himself.
Where does the Doctor finds his solace? In his TARDIS showing off to his companions, making them laugh, impressing them.
And it could be any companion standing there- Rose, Sarah Jane, Jamie- they all serve the same purpose to the Doctor. Clara is just the latest and rawest grief. And like all companions she is his touchstone and his springboard. Never before has the relationship been so explicit and intimately explored yet in such a simple fashion.
But then this episode positively brims with memorable imaginary and ideas.
It would have been so easy to have imagined the Doctors pursuer, his greatest nightmare as a Dalek or some such, but to instead pluck from the Doctors childhood nightmares a real memory- of the corpse of an old woman who had been covered in a veil, yet the flies still came for the flesh- lent the whole thing a personal level of trauma. The Doctors fear palatable on his face as he realised what was stalking him through the corridors.
The sea bed of his skulls, their revelation and significance beautifully set up in the wonderful, exhilarating sequence where we see the Doctors thought process at work after he leaps from the window: a fantastic sequence crammed with ideas in itself and shot with a verve and energy that makes the heart pump watching it.
This is brave television- we see the suffering of our hero and main character in pronged detail. Here grief is not brushed aside but keenly felt. Reminders of his loss are everywhere, from the initial flash of Clara's death at the start to the fading painting of her on the wall and her ghostly presence in the mind of the Doctor, still driving him on, still teaching. Still being the reason he will not give up the fight when all he wants to do is give in finally and be at rest.
And as metaphor for grief the Doctors hell with his two billion years slowly and agonisingly punching through a wall of crystal its hard to think of better or more fitting for the Doctor. He could have left himself the spade, but then where's the self punishment, where's the Doctor's self loathing- Clara's death his his fault and he knows it and the punishment he meets out to himself is almost unbearable to watch. Capaldi puts so much into every punch thrown, so much pain etched n that face with every blow struck. And yet the determination to keep going never falters.
And what makes all this pain bearable is this episodes three strongest points: the central performance of Peter Capaldi, the words of Steven Moffat and the direction of Rachel Talay, and special mention most also go to whoever was sat in the editors chair too.
This is beautifully shot. Talay does an outstanding job of knowing when the piece needs the actor to have space to act and when the direction neds to lead the story, and she hits every note perfectly.
Note to mention shooting a piece with only one actor most of the time.
Of particular note is the final montage sequence which not only drives home just how long the Doctor has been doing this (and was I think more effective in conveying the time frame than 11's time on Trenzalore was) and also building to a climax whilst hitting all along the way al the pieces of the puzzle and knocking them into place in one haw dropping revelation after another.
Here the writing, editing and directing come together sublimely.
Each image chosen is one which, in retrospect, has new meaning- the Doctors full speech on arrival is given again- emphasising just what it truly means when the Doctor tells you he is coming for you and he will never stop. The dropping of the spoon when he realises what may be going on. Amd most painful of all, when he remembers all the his previous selves towards the end reliving this agony and has his begging plea in his mind TARDIS, why cant he just lose this once? And most painful of all, “I can't keep doing this” that whole sequence and speech takes on a whole new context and depth of pain in light of what is actually happening to him. And the scope of it is horrific and layed out in all its personal horror by Capaldi with every nuance and fibre of his being.
And this is where I talk Capaldi, or the Doctor as he doesn't perform here he embodies.
To carry an entire episode as essentially the only character with any dialogue is a trick and a half. The closest Who has come to attempting anything vaguely similar before is the opening episode of 4th Doctor story the Deadly Assassin.
But this is on a whole different level, Capaldi is the driving force behind this entire episode, we are with him and listening to him almost the entire 55 minute running time. And he captures the narrative and runs with it and never lets go, taking the viewer with him utterly. In a performance of personal suffering, overcoming grief and guilt, and as a epitome of the underlying defining traits of the Doctor its a performance I cant find fault with. He covers all the necessary emotions here with a natural ease that makes you forget there is a performance, just the Doctors suffering and pain and in the end his indomitable spirit shining through brighter than the crystal wall he smashes through to freedom.
This is probably Steven Moffats finest single script for Who. If he were to retire now it would be a perfect capstone on his style of story telling. This was a twisty timey wimey tale with no timey wimey, no cheats, no lies. No tricks. There was no get out of jail free card here, this is a story of endurance through pain, grief, loss, fear, hope, endurance, will, death and facing death. And all wrapped up in a scifi premise and put out on a Saturday night right after Peter Andre danced a cha-cha-cha or something. Audacious? Damn right, Just as Who should be.
And as an additional thought- well done Murray Gold, his soundtrack was as daring and different from his usual style as the episode itself was. And it matched the themes and moods perfectly, quieting down when not needed and driving the story along when required too, and mixing everything from gothic to what sounded very much like 1980's classic era Who radiophonic workshop.
Talking classic the Tom Baker was strong in this one!
This was exactly the sort of weird, creepy as hell, slightly disturbing, imaginative Who that got me hooked a s a child in the first place.
Also to those saying the show has forgotten about the kids. Have you actually asked any what they thought?
I have and they bloody loved it, terrified, adored Capaldi (my 7 year old niece wanted to hug him when he broke down over Clara being gone) best of the series was the view.
And the 'what did the kids think' thread over on Gallifrey Base seems to be painting a similar picture of responses from the little uns.
Never underestimate children.
As someone somewhere once said about Who, its not imaginative children in the audience you have to worry about, its sour old adults who have lost their imagination and forgotten what it was ever like to have one as a child, that's who you have to watch out for.
For me this was easily the standout episode of the series so far. Possibly of NuWho. And a contender for best episode of Who full stop.
If I have a criticism its only that the ending, with the Time Lords, which I had worked out was coming last week, didn't have as much of an impact as it should have had, simply because for me the revelations of the Doctors time in his own purgatory, the climatic series of revelations leading up to to his final punch through the wall, and all that moment meant for the character, were bigger emotional high points. Gallifrey just couldn't top what had already come before it- and that's saying something in itself about the quality of what did come before.
Now you know my thoughts, heres what the professionals made of it-
Den of Geek - 'Doctor Who series 9 is rolling the dice. And more often than not, as it does this week, it's winning...This is Steven Moffat on very good form. He's being confident and clever with time, without zipping backwards and forwards and asking us to hold on. There’s an inherent trust that the audience is on board with what he’s doing, and – in a recurring theme this series – there's a genuine gamble with format and story....And it goes without saying – but still should be said – that Peter Capaldi is quite brilliant again...Heaven Sent? I liked it a lot, for its entrusting of Peter Capaldi, and for its entrusting of us as viewers.'
The Independent- 'that doesn't mean Heaven Sent is a wholly satisfying episode - but it is one of the most uncompromising pieces of TV the show has ever done... Heaven Sent is positively avant-garde in its themes, tone and execution. It's an episode and a story that offers very little concession to an audience's expectations, and as a result is likely to be loved and loathed in equal measure. But an episode this esoteric needs to be taken on its own terms, and even if next week's season finale casts Heaven Sent in a different light, it's difficult not to be begrudgingly impressed even if it left you baffled, if not outright frustrated....Steven Moffat's taut and teasing script is full of wonderful concepts and imagery...Whether spitting righteous indignation or breaking down in despair as he faces the reality of (and his part in) Clara's death, Capadli is never less than razor sharp and wholly convincing, taking the character to dazzling new heights... It's difficult to argue that's what going on in Heaven Sent isn't brilliant, because it clearly is. From an artistic and technical standpoint, everything's there – from the writing to the sound to the acting, and definitely to Rachel Talalay’s brilliant direction. If you like your Berman and your Beckett you’ll probably get a hell of a lot more out of it than if you tuned in expecting ray guns and rubber monsters.'
IGN 9.5/10 - 'A great episode of Doctor Who that serves to bring this mostly excellent season towards its finale, “Heaven Sent” features a breathtaking one-man show from Peter Capaldi and a twist-ending that makes this one of the best episodes of the modern series’ run.'
The Nerdist- 'One of my favorite things about Steven Moffat‘s best Doctor Who scripts is that you don’t know what the hell’s going on until you know what the hell’s going on. He has the ability, when he tries, to make mysteries in which all the clues are there to be solved, but the context for them hasn’t been revealed yet. Like a clockwork puzzle box, every piece fits together just so until it all hums along and finishes its cycle. Series 9 episode 11, “Heaven Sent,” is exactly this type of episode, and it’s, I think, one of Moffat’s crowning achievements....need I even say it, Capaldi knocked this whole episode out of the park... “Heaven Sent” is another huge win in a series that’s already produced some stone-cold classics. This is a special episode, and one that I think could only happen after a showrunner, and a show for that matter, have been around for a very long time. When Moffat focuses on telling a good story and doesn’t focus on too many cutesy inside references, he’s still one of the best in the game.'
Radio Times 5/5 - 'I’m calling it now: this is an instant classic....This is Peter Capaldi’s hour and he has earned it...he has made the role his own, subtly made his cranky interpretation more loveable, and now he’s been rewarded with the chance to shine with no one else to play off.... The Moff has structured the narrative with his trademark intricacy. Capaldi plays it to perfection – in the moment, every moment. Rachel Talalay (who directed last year’s two-part finale) steeps the production in atmosphere and sustains the momentum right until the final revelations. And Michael Pickwoad has designed and lit some magnificent sets... When it finally sinks in for the viewer that the Doctor has already been in this trap an incredibly long time – 7,000 years – it’s jaw-dropping.'
The Express - 'Peter Capaldi managed to carry off the whole thing without it feeling too weird. He led us through this adventure, which was an exploration of grief and the fear of death.
The instalment turned out to be far scarier than we were expecting. The thing in the veil, with all the flies buzzing around it, is something that is going to leave many people quite disturbed – and not just children....Heaven Sent was sad and terrifying and perplexing (in a good way) by turns and for a split second you actually thought the Doctor was going to remain trapped in his own personalised torture chamber within his confession dial.'
Metro - 'As the first part of a series finale, Steven Moffat takes a bold step by stripping his story back to its bare bones and putting the burden squarely on Peter Capaldi’s shoulders. And Capaldi delivers 100%, carrying every scene and showing every facet of his Doctor: anger, terror, playfulness, intensity, resignation and, finally, a fierce refusal to do anything other than do what he has always done: find a way to win. It’s a beautifully textured performance, underpinned by a superb new musical score from series composer Murray Gold'
well that's your take on it.
this is mine.
- Spoiler:
- meh.
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Re: Doctor Who [12]
by Eldorion Tue Dec 01, 2015 3:37 am
I enjoyed the PJ video. Even the cameo by that copy of The Silmarillion.
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Re: Doctor Who [12]
by Mrs Figg Tue Dec 01, 2015 2:39 pm
I am actually quite excited at the thought of PJ doing an episode. 
it would be interesting to compare the styles. Moffat wouldn't be able to stick his fingers in and alter anything so it would be 100% PJ and I bet he would probably be very good at sci-fi as his budget would most likely be bigger and he would be able to indulge his love of spectacle.
it would be interesting to compare the styles. Moffat wouldn't be able to stick his fingers in and alter anything so it would be 100% PJ and I bet he would probably be very good at sci-fi as his budget would most likely be bigger and he would be able to indulge his love of spectacle.
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Re: Doctor Who [12]
by Pettytyrant101 Tue Dec 01, 2015 2:57 pm
My position on this hasn't changed. I'd like to see PJ direct an episode. He is a life long Who fan and has a genuine love for the show and presumably understanding of it, that he clearly lacked for Tolkien.
But he should be hired to direct, on the same terms the other directors are. He should get the normal creative input the director gets into the script but nothing more- he certainly shouldn't write one.
But he should be hired to direct, on the same terms the other directors are. He should get the normal creative input the director gets into the script but nothing more- he certainly shouldn't write one.
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Re: Doctor Who [12]
by Bluebottle Tue Dec 01, 2015 8:34 pm
The chance of this deal is going to die off with Moffats tenure, I think.
I find it interesting that me and Peter Jacksons actually agree on something though. Moffat's writing can be good, but a lot of the time it's.. ehhh.. yeah..
I find it interesting that me and Peter Jacksons actually agree on something though. Moffat's writing can be good, but a lot of the time it's.. ehhh.. yeah..
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Re: Doctor Who [12]
by Mrs Figg Tue Dec 01, 2015 9:07 pm
PJ isn't going to come all the way to Cardiff and not write an episode, this could inject some much needed freshness to the proceedings imo.
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Re: Doctor Who [12]
by Pettytyrant101 Tue Dec 01, 2015 9:35 pm
I find it interesting that me and Peter Jacksons actually agree on something though. -Blue
I dont think that was actually meant to be taken seriously. More a joint comment on the unpleasant side to fans. More pointed was the joke about Who fans being more violent than Tolkien ones. Who's worst enemies are some of its so called fans.
'this could inject some much needed freshness to the proceedings imo.'
I dont see how Pj writing a script would be fresher than say Mathiseon's debut, or Gaimans, or any of the other new writers.
Whatever Pj does if its under the Moffat era it will be under Mofffat as showrunner. Moffat will still have final say.
I dont think that was actually meant to be taken seriously. More a joint comment on the unpleasant side to fans. More pointed was the joke about Who fans being more violent than Tolkien ones. Who's worst enemies are some of its so called fans.
'this could inject some much needed freshness to the proceedings imo.'
I dont see how Pj writing a script would be fresher than say Mathiseon's debut, or Gaimans, or any of the other new writers.
Whatever Pj does if its under the Moffat era it will be under Mofffat as showrunner. Moffat will still have final say.
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Re: Doctor Who [12]
by azriel Tue Dec 01, 2015 9:40 pm
Im wondering if having only one person having the final say is a good thing ? One could get narrow minded or blinkered ? I like the idea of a team agreeing ?
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Re: Doctor Who [12]
by Pettytyrant101 Tue Dec 01, 2015 9:46 pm
If you read the stuff from writers and directors its a very feedback process. For example in the last episode Moffat, Capaldi and the Director did not always agree on how they wanted to interpret and present a certain piece and they worked it out between them how best to do the episode.
The same is true with writers. They get round the table at regular intervals, not just Moffat and the writer but the script editors, producers and they threw ideas about,. Sometimes Moffat pitches story ideas to writers and allocates them- as he did with Mummy on the orient express for Maitheson, sometimes the writer pitches the idea as Mathieson did for Flatline.
The showrunner, single man doing everything thing is in reality mainly a myth. Its a mass of creative input from lots of people.
The same is true with writers. They get round the table at regular intervals, not just Moffat and the writer but the script editors, producers and they threw ideas about,. Sometimes Moffat pitches story ideas to writers and allocates them- as he did with Mummy on the orient express for Maitheson, sometimes the writer pitches the idea as Mathieson did for Flatline.
The showrunner, single man doing everything thing is in reality mainly a myth. Its a mass of creative input from lots of people.
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Re: Doctor Who [12]
by Mrs Figg Tue Dec 01, 2015 9:58 pm
If you get a big name movie director to direct an episode he is going to write the episode. end of story.
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Re: Doctor Who [12]
by malickfan Tue Dec 01, 2015 10:13 pm
azriel wrote:Im wondering if having only one person having the final say is a good thing ? One could get narrow minded or blinkered ? I like the idea of a team agreeing ?
I think they should go back to the Classic series model of one or two producers, plus a script editor so there's less likelihood of the main writer becoming burnt out or self indulgent, for better or worse both RTD and Moffat had a lot of freedom as writers, and a huge amount of pressure to deal with as sole main showrunner, I get the impression that as hardcore fans both were inclined to write the show more for themselves and/or hardcore fans rather than the general public at times, and both have received a huge amount of criticism for some of their decisions, decisions that other writers may have talked them out of, making the next showrunning team more of a partnership, or perhaps hiring a non-fan to take over as main writer would i.m.o freshen up the show quite alot.
I think it says alot when a hyped experimental episode, and penultimate series finale such as Heaven sent is praised by many critics and is a huge hit with hardcore fans, yet still receives one of the lowest AI scores of recent years and isn't one of the most watched eps of the series.
I have thoroughly enjoyed this series so far, but I'm a fan, not a casual viewer tuning in for a hour or so of entertainment, frankly I think there's a argument to be made Who has dissapeared up its own arse a bit, again as a fan that's not necessarily a problem for me, but for those who don't take a show about a mad alien fiying around in a phonebox yelling nonsense at rubber aliens quite as seriously I can certainly see why the more mythos heavy, introspective stories of Moffat's tenure in recent years haven't been quite as popular with elements of the general public, Series 1 may have had farting aliens and lousy special effects, but evidently for all its lack of finesse, RTD's tenure had a heart and chord that struck with the wider public in a way the show isn't quite managing to do so at the the present time.
Whether that's a good or bad thing depends on whether you think Who is better served as a serious if slighty niche sci-fi show for the fans, or a fun, slighty silly family teatime romp...Who has, and can balance both but ten years down the line from its relaunch, it's now under massive scrutiny from a huge worldwide fanbase, and in some ways has become a victim of its own success, whoever does suceed Moffat as showrunner will be a very brave man or woman indeed...
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Re: Doctor Who [12]
by Pettytyrant101 Tue Dec 01, 2015 10:19 pm
If you get a big name movie director to direct an episode he is going to write the episode. end of story.- Figg
He would undoubtedly be the biggest film director the show has got, but he would by no means be the only one. Several of the directors in Moffat era have made films, some in Hollywood others elsewhere, and most if not all of them have won awards.
I dont see why he should get special treatment, and even if they do get him as writer/director it will still have to fit into the series arc, and it will still pass through the hands of Moffat and the script editors and the producers before it sees the screen.
I think it is more likely he will direct a Moffat penned finale or opening, of increased length that BBC Worldwide can peddle round the cinemas.
Malick I think the show can and should do both. It did right from the start in classic- edge of destruction is surreal as hell and very experimental, or the Mind Robber.
Experimental episodes are prone to falls iin AI- and itr did get 80 which rated good. Its not as good as Who usually gets but thats more a testimony to the AI's it usually enjoys. That it should fall for an episode thats as symbolic and as rich in imagery and interlinked themes as this one is I think an 80 is pretty good- it still took the majority of its audience with it.
When it comes to the next showrunner its clear Moffat expected this to be his last series. The fact it is not shows that the BBC is having some difficulty in finding a replacement. And who can blame folk for shirking it given the workload and all the stick you get for doing it.
ps there is and always has been a separate script editor. Moffat is head writer not the script editor. The Current script editor is David Davis. There have in fact been 9 script editors in Moffats tenure.
He would undoubtedly be the biggest film director the show has got, but he would by no means be the only one. Several of the directors in Moffat era have made films, some in Hollywood others elsewhere, and most if not all of them have won awards.
I dont see why he should get special treatment, and even if they do get him as writer/director it will still have to fit into the series arc, and it will still pass through the hands of Moffat and the script editors and the producers before it sees the screen.
I think it is more likely he will direct a Moffat penned finale or opening, of increased length that BBC Worldwide can peddle round the cinemas.
Malick I think the show can and should do both. It did right from the start in classic- edge of destruction is surreal as hell and very experimental, or the Mind Robber.
Experimental episodes are prone to falls iin AI- and itr did get 80 which rated good. Its not as good as Who usually gets but thats more a testimony to the AI's it usually enjoys. That it should fall for an episode thats as symbolic and as rich in imagery and interlinked themes as this one is I think an 80 is pretty good- it still took the majority of its audience with it.
When it comes to the next showrunner its clear Moffat expected this to be his last series. The fact it is not shows that the BBC is having some difficulty in finding a replacement. And who can blame folk for shirking it given the workload and all the stick you get for doing it.
ps there is and always has been a separate script editor. Moffat is head writer not the script editor. The Current script editor is David Davis. There have in fact been 9 script editors in Moffats tenure.
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Re: Doctor Who [12]
by malickfan Tue Dec 01, 2015 10:22 pm
Mrs Figg wrote:If you get a big name movie director to direct an episode he is going to write the episode. end of story.
In Jackson's case this is most likely true, he's always developed his own projects, producing and co-writing all of his major feature films, and hasn't put himself out there as a director for hire, although (or maybe because) he is a huge fan of the show, I don't think he'd be willing to sacrifice artistic integrity and direct a script he hadn't had a hand in writing, it's different with the regular directors for Who, the majority of them are directors for hire who wouldn't necessarily be hardcore fans or be likely to have a background in screenwriting for the television medium.
I'd certainly be very interested to see what tricks the mind behind Braindead could bring to Who, Jackson's sure to think of a fair few ways to scare the kids at least...
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Re: Doctor Who [12]
by malickfan Tue Dec 01, 2015 10:26 pm
Pettytyrant101 wrote:
When it comes to the next showrunner its clear Moffat expected this to be his last series. The fact it is not shows that the BBC is having some difficulty in finding a replacement. And who can blame folk for shirking it given the workload and all the stick you get for doing it.
I wouldn't be surprised if that was the case, given all the shit and stress Moffat has to work with, and the huge pressure with budget cuts and an increased worldwide audience, it's certainly going to take a brave man or woman with very thick skin to suceed him.
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Well, that was worth the wait wasn't it
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Re: Doctor Who [12]
by Mrs Figg Tue Dec 01, 2015 10:29 pm
malickfan wrote:azriel wrote:Im wondering if having only one person having the final say is a good thing ? One could get narrow minded or blinkered ? I like the idea of a team agreeing ?
I think they should go back to the Classic series model of one or two producers, plus a script editor so there's less likelihood of the main writer becoming burnt out or self indulgent, for better or worse both RTD and Moffat had a lot of freedom as writers, and a huge amount of pressure to deal with as sole main showrunner, I get the impression that as hardcore fans both were inclined to write the show more for themselves and/or hardcore fans rather than the general public at times, and both have received a huge amount of criticism for some of their decisions, decisions that other writers may have talked them out of, making the next showrunning team more of a partnership, or perhaps hiring a non-fan to take over as main writer would i.m.o freshen up the show quite alot.
I think it says alot when a hyped experimental episode, and penultimate series finale such as Heaven sent is praised by many critics and is a huge hit with hardcore fans, yet still receives one of the lowest AI scores of recent years and isn't one of the most watched eps of the series.
I have thoroughly enjoyed this series so far, but I'm a fan, not a casual viewer tuning in for a hour or so of entertainment, frankly I think there's a argument to be made Who has dissapeared up its own arse a bit, again as a fan that's not necessarily a problem for me, but for those who don't take a show about a mad alien fiying around in a phonebox yelling nonsense at rubber aliens quite as seriously I can certainly see why the more mythos heavy, introspective stories of Moffat's tenure in recent years haven't been quite as popular with elements of the general public, Series 1 may have had farting aliens and lousy special effects, but evidently for all its lack of finesse, RTD's tenure had a heart and chord that struck with the wider public in a way the show isn't quite managing to do so at the the present time.
Whether that's a good or bad thing depends on whether you think Who is better served as a serious if slighty niche sci-fi show for the fans, or a fun, slighty silly family teatime romp...Who has, and can balance both but ten years down the line from its relaunch, it's now under massive scrutiny from a huge worldwide fanbase, and in some ways has become a victim of its own success, whoever does suceed Moffat as showrunner will be a very brave man or woman indeed...
I agree with you in the main points you made. Being a fun slightly silly teatime romp is an important part of Who which I find is totally missing at the moment. I dislike this fashion for everything being dark and intense, its getting very boring. When they do try to go down the silly route and tries to be 'quirky' it falls flat on its face, and that's because its all style over substance.
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Re: Doctor Who [12]
by Pettytyrant101 Tue Dec 01, 2015 10:33 pm
and that's because its all style over substance.-Figg
Yet the last episode was all about substance, all about character, so much so it was a one man character study. So even when you get the substance you still complain about it.
Yet the last episode was all about substance, all about character, so much so it was a one man character study. So even when you get the substance you still complain about it.
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Re: Doctor Who [12]
by Mrs Figg Tue Dec 01, 2015 10:34 pm
Pettytyrant101 wrote:If you get a big name movie director to direct an episode he is going to write the episode. end of story.- Figg
He would undoubtedly be the biggest film director the show has got, but he would by no means be the only one. Several of the directors in Moffat era have made films, some in Hollywood others elsewhere, and most if not all of them have won awards.
I dont see why he should get special treatment, and even if they do get him as writer/director it will still have to fit into the series arc, and it will still pass through the hands of Moffat and the script editors and the producers before it sees the screen.
I think it is more likely he will direct a Moffat penned finale or opening, of increased length that BBC Worldwide can peddle round the cinemas.
Jackson will write and direct the episode. I think he will demand this as a minimum requirement. It doesn't make sense any other way.
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