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# DW: Silly plot, sillier monster, but a few quite touching moments that made me actually warm up to Eleven a bit, especially the scene with Amy in the end when she realised that they hadn't changed history after all. I guess you could call it over-sentimental, but this season I'm happy when I'm feeling anything at all, so I'm not really complaining. OTOH, jokes about cubism and eyes on either side of the face in 2010? Coming from a Time Lord? Seriously? *facepalms so, so hard* And the whole 'greatest artist of all time' theme was definitely overdone.

I can't really put my finger on it, much less put it into words, but there's a kind of naivety in S5 that stops me from getting really emotionally invested in the stories. Maybe it's the fairytale theme and the fundamental distance it creates? The frustrating thing is, I'm watching these stories, and I keep thinking I could care for them if they were just told a little differently, but I couldn't say how. Gah.

On a (I guess) somewhat related note, what I found really interesting is how suicide is clearly linked to mental illness/depression in this episode, while in TW or even in DW with Adelaide in WoM every single time it was presented as a mostly rational choice. It already stood out in SitL/FortD, but there are two very different philosophic angles behind RTD and SM's writing.

# Bike has a flat tyre, which means I'm finally going to buy a new one since it's pretty much falling apart everywhere and I already decided last September that there would be no further repairs. I'm actually surprised it lasted another eight months. But why does this happen every time M. is on holiday and I'm stuck with either the underground or walking for the whole next week?

# Sore throat is still/again kind of sore after it got better for a bit? And no time for a doctor's appointment either next week for reasons mentioned above? *sigh*

# Survived another dentist appointment on Friday, this time without chemical help. I think the hard fact of local anaesthesia and that It Doesn't Actually Have To Hurt finally managed to get through the haze of panic the whole braces experience left me with. Also, I think I've finally found the coping mechanism that puts even a bit of pain in perfect perspective. Er, thank you, CoE? I guess?

# And speaking of TW, maybe I shouldn't have rewatched Dead Man Walking Friday evening after dentist, work & Russian lesson when I was pretty much cross-eyed with tiredness, but has it always been this excruciatingly awful? There are a couple of Owen moments that make it maybe somewhat bearable, but from the beginning with Jack tip-toeing through the completely random weevils to the glove developing a life of its own, Owen wrestling a smoke-wreathed CGI skeleton and JB, who should just stay far, far away from the resurrection glove because it really doesn't bring out his best acting, it's really rather dire. The plot makes no sense whatsoever on a literal level, although maybe a bit more on a metaphorical one, especially looking at Owen and Jack's respective S1 arcs. But still. I'll take Random Shoes over this any time. From Out of the Rain. Small Worlds. Anything, everything. Although I guess part of it can be blamed on the hasty rewriting, since the hospital setting especially wouldn't really have worked for Ianto and must be new...

Actually, I'm still curious what the original story with Ianto's death would have been like. Owen's arc, Ianto's arc, Ianto's reaction to the whole situation, Jack and Ianto, who would have died in the end...

Comments

( 3 comments — Leave a comment )
elisi
Jun. 6th, 2010 06:46 pm (UTC)
On a (I guess) somewhat related note, what I found really interesting is how suicide is clearly linked to mental illness/depression in this episode, while in TW or even in DW with Adelaide in WoM every single time it was presented as a mostly rational choice. It already stood out in SitL/FortD, but there are two very different philosophic angles behind RTD and SM's writing.
This confused me. SitL/FortD were written by Moffat, but River's suicide very much falls into the rational camp. Personally, I didn't see this ep as pushing any kind of philosophic angle, but rather it just tried to be true to Vincent.

(Too run off my feet delve into TW...)
solitary_summer
Jun. 6th, 2010 07:32 pm (UTC)
Sorry, I should have been clearer, that was me being stuck in meta-writing head-space.

Essentially I don't count River's death as suicide, at least not in the same way as John or Mark's in TW, or Owen's attempt at it, or Elton or Foon in DW. She isn't driven by desperation, she's driven by hope; for me it falls more in the category of all the self-sacrificial deaths in DW. Adelaide's case is... complicated, actually the most complex of all the DW deaths, IMO. It's somewhere in the middle between those two concepts.

What I meant by the difference between RTD and SM's writing is the virtual happy ending of FotD with River's speech about how it would be a dark day when the Doctor accepted the necessity of death, because this is the complete antithesis of how RTD wrote Ten's arc, even before the last three specials. After all the whole of S3 was about the dangers of not accepting death. I don't think the Van Gogh episode was pushing any philosophical angle either, and I don't think RTD was, or at least not much, not consciously, but the philosophy, the worldview behind their stories IMO is a rather different one.
elisi
Jun. 6th, 2010 09:03 pm (UTC)
What I meant by the difference between RTD and SM's writing is the virtual happy ending of FotD with River's speech about how it would be a dark day when the Doctor accepted the necessity of death, because this is the complete antithesis of how RTD wrote Ten's arc, even before the last three specials.
You know, this ties in very beautifully with River being from the future, showing us who the Doctor will be (when he becomes Moffat's) - a message to say 'OK, things will get dark, but trust me, in the end you'll find something to live for!' :)
( 3 comments — Leave a comment )

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