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Post by whiskeybrewer on Jan 3, 2018 12:07:05 GMT
While I love Pyramid, Talons will always take it, theres just something more to it and for giving us Jago and Litefoot well
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Deleted
Deleted Member
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Post by Deleted on Jan 4, 2018 3:11:14 GMT
Both are marvellous, but I think The Talons of Weng-Chiang wins out purely because there's an additional near hour of it. The production team went all in on this final story for the season and the results really show in its nighttime shoots, detailed sets, glorious characterisations and directing. It's wonderful to see it all work so well and having two-and-a-half-hours of it is even better.
If we're talking in terms of just the villains alone though, I'd definitely say Sutekh over Magnus Greel. There's something truly haunting about a being that can raze the cosmos to cinders from his chair. The Faction Paradox stories in the Osirian court do some amazing things with him, it somehow manages to treble his sense of threat.
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shutupbanks
Castellan
There’s a horror movie called Alien? That’s really offensive. No wonder everyone keeps invading you.
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Post by shutupbanks on Jan 4, 2018 4:59:36 GMT
Both are marvellous, but I think The Talons of Weng-Chiang wins out purely because there's an additional near hour of it. The production team went all in on this final story for the season and the results really show in its nighttime shoots, detailed sets, glorious characterisations and directing. Wasn't this due to Hinchcliffe finishing his stint as producer and throwing everything at it, to the detriment of the following season's budget? I seem to recall hearing/ reading about this and having it suggested that it was a contributing factor to the issues that plagued Graham Williams' first year as a producer. (I know, I'm getting off-topic again. Sorry.)
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Deleted
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Post by Deleted on Jan 4, 2018 7:46:32 GMT
Both are marvellous, but I think The Talons of Weng-Chiang wins out purely because there's an additional near hour of it. The production team went all in on this final story for the season and the results really show in its nighttime shoots, detailed sets, glorious characterisations and directing. Wasn't this due to Hinchcliffe finishing his stint as producer and throwing everything at it, to the detriment of the following season's budget? I seem to recall hearing/ reading about this and having it suggested that it was a contributing factor to the issues that plagued Graham Williams' first year as a producer. (I know, I'm getting off-topic again. Sorry.) S'fine, I definitely recall something to that effect. I'll dig back... *scurry* *scurry* *scurry* From the looks of it, what kicked Season 15 in the teeth more than anything else -- more than Talons potentially -- was the record inflation of the time (1977 managed 15.8%). The BBC's rather strict mandate from on high about reducing the show's expenditures probably came from the same impulse that had them reuse sets and costumes for The Invasion of Time. Ideas like the Key to Time were pushed back to the following season because of the additional time constraints placed on top of that. Underworld in particular was hit by the cinematic grandeur of Star Wars of all things, trying to match up in its own small way. It's a bit of a miracle that Season 15 exists in its entirety at all. You can read a little more about it here. It comes across as a serious trial by fire. The Key to Time definitely appears to be the period where Williams was able to wrangle himself up onto that madcap horse and stay there.
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