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Post by Deleted on Jan 3, 2016 4:10:38 GMT
Thanks. Have you read the Stranded on Earth arc of the EDAs? It runs from The Burning to Escape Velocity from memory and it manages to stand completely on its own, no prior reading required. They might be just up your alley, I have very fond memories of Father Time and other novels from that particular era. Mmm, I definitely agree with you there. A return to the adventure genre and a more moralistic Doctor would definitely help with some of the issues the show is having at the moment. I'm someone who thinks that the mirror universe in Star Trek and the parallel Inferno project in-- Erm, well, Inferno, should be the main universes to better highlight what exactly the Doctor is struggling against. Heaven Sent was a definite step in the right direction even if Hell Bent stumbled and face-planted halfway through its runtime. I preach it so much it's gotten repetitive, but I really do believe that stories which dabble in totalitarianism and darkness are the way to go. I think a big mistake one makes with Doctor Who is that the Doctor doesn't believe in violent solutions, difficult complications or murder, so you get writers who bend the universe around to his views. The problem there is of course, that you have no conflict and therefore no drama. There are no stakes because there is nothing to fight for or against. Like the end of the Silurians. Very much so. The reason why their destruction is so poignant is that not everyone has the same views that the Doctor does. The Brigadier did what was best for his people because having never met Okdel or learnt how civilised the cave monsters he and his men had struggled against could be, he believed that there was no alternative but to destroy them. And you know what? The universe doesn't bow to the Doctor's whims because the situation is completely out of his hands. The Silurians are destroyed and by the one man on the entire planet he thought he could trust. Of course, that doesn't stop later stories in the EU like The Scales of Injustice from showing how human-reptile relations improve, but it's paid for and built upon past mistakes. Earn your happy ending, that's my line of thought as a writer.
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Post by kurumais on Jan 5, 2016 1:26:29 GMT
more tech and gadgets.
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Post by kalendorf on Sept 24, 2016 3:53:42 GMT
I'd have ended the classic series on Castrovalva.
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Post by mrperson on Sept 24, 2016 19:09:50 GMT
I'd have ended the classic series on Castrovalva. ! I ..... would fire you, take your place, and not do that.
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Post by agentten on Sept 24, 2016 20:35:48 GMT
One thing that has always bothered and confused me about Who is how the show spoils the appearance of the Daleks and sometimes other monsters by including the name of the monster in the title of the episode. Often, the episode itself will build nicely to a big reveal and cliffhanger at the end of an episode. The Daleks will suddenly glide in and there's a great opportunity for the audience to be surprised and thrilled and spend the following week anticipating the resolution of the story. However, that experience is usually blunted because most Dalek stories have "Daleks" in the title, which flashes on screen during the opening credits (or is revealed on the internet as part of routine promotional information). I don't know why it's a tradition on Who to spoil these moments, but I think it's a shame.
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Post by paulmorris7777 on Sept 24, 2016 21:43:53 GMT
One thing that has always bothered and confused me about Who is how the show spoils the appearance of the Daleks and sometimes other monsters by including the name of the monster in the title of the episode. Often, the episode itself will build nicely to a big reveal and cliffhanger at the end of an episode. The Daleks will suddenly glide in and there's a great opportunity for the audience to be surprised and thrilled and spend the following week anticipating the resolution of the story. However, that experience is usually blunted because most Dalek stories have "Daleks" in the title, which flashes on screen during the opening credits (or is revealed on the internet as part of routine promotional information). I don't know why it's a tradition on Who to spoil these moments, but I think it's a shame. When it involved Classic Who. It was usually done to get ratings up and a RT cover. No box sets, no catch up, no dailymotion. If you missed it, you missed it. When the new series came back, they would have wanted as much publicity as possible. Dalek being the first NuWho Dalek story. The word Dalek appeared again in Capaldis first encounter.
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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 Sept 25, 2016 2:48:40 GMT
I'd like to see an adventure that takes place over one whole season. Not an arc - a whole adventure. The Doctor often arrives just in time to hasten the climax of a tale and I think it would make a change to occasionally have him show up and get caught up right from the start of a story and stick around until things have come good. Not have him stranded away from the TARDIS or anything, but willingly take sides in a conflict as he does and deal with the everyday complications that arise from defeating a foe. And not in a way that just links the stories together like Key To Time or Trial Of A Time Lord or the stories we got in the first couple of seasons where each adventure led into the next, but a proper, epic adventure that takes place over every episode of the season.
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Post by Ela on Sept 25, 2016 3:39:02 GMT
I'd have ended the classic series on Castrovalva. No, no, no.
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Post by Deleted on Sept 25, 2016 8:52:41 GMT
I'd have ended the classic series on Castrovalva. I'm really curious as to why Castrovalva out of all stories?
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Post by paulmorris7777 on Sept 25, 2016 9:35:12 GMT
I'd make the stories easier to follow, with no loose ends!
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Post by kalendorf on Sept 25, 2016 12:58:07 GMT
I'd have ended the classic series on Castrovalva. I'm really curious as to why Castrovalva out of all stories? I mainly choose it because it would act as a neat closure for the series. Wrapping up Logopolis' loose ends (not to mention doing something useful with its companions to justify their sudden introduction) and reassuring that there is a bright future beyond for the new Doctor, and of course the final end for the Master who has long plagued the Doctor. In terms of the stories before and after it, I think Castrovalva's the only one that makes sense. A single, one-off special story for the new Doctor. I mean if you ended it on Four to Doomsday or Kinda, it'd be a case of "But why stop it there, only two or three stories into his run?" Allowing The Visitation I suppose might take the season to a nice round number of four, but then Tegan's not getting home at the end becomes an issue. A short eccentric story like Black Orchid I cant see making sense as a show wrap-up either. Earthshock might make some sense as a climactic way to end the season but like Logopolis it's too open-ended in how it finishes and maybe not the right tone on which to finish the series. Which only leaves Time-Flight really, which apart from being not very good, also undoes all of Castrovalva's closure on the Master, and breaks so many storytelling rules to do it that the plot falls to bits, and the viewer can't quite trust or believe it as a story, less so as a resolution to the show.
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Post by paulmorris7777 on Sept 25, 2016 14:20:46 GMT
Earthshock might make some sense as a climactic way to end the season but like Logopolis it's too open-ended in how it finishes and maybe not the right tone on which to finish the series. Which only leaves Time-Flight really, which apart from being not very good, also undoes all of Castrovalva's closure on the Master, and breaks so many storytelling rules to do it that the plot falls to bits, and the viewer can't quite trust or believe it as a story, less so as a resolution to the show. What storytelling rules does it break?
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Post by kalendorf on Sept 25, 2016 14:43:05 GMT
Earthshock might make some sense as a climactic way to end the season but like Logopolis it's too open-ended in how it finishes and maybe not the right tone on which to finish the series. Which only leaves Time-Flight really, which apart from being not very good, also undoes all of Castrovalva's closure on the Master, and breaks so many storytelling rules to do it that the plot falls to bits, and the viewer can't quite trust or believe it as a story, less so as a resolution to the show. What storytelling rules does it break? That there's never really a sufficient explanation how the Master survived the end of Castrovalva, or why he was disguised as Khalid long before the Doctor arrived, or why the Doctor just assumes the Master will be beaten off-screen on Xeraphus and doesn't bother to check, or indeed why Nyssa and Tegan seem so unconcerned at the presence of the villain who murdered their loved ones back in Logopolis..... and the answer to all this, and to why Tegan gets left behind, seems to only be 'because the producer wishes it so'. And if that's the case then it seems anything can happen and so nothing matters, and since the Master's here to stay from hereon, nothing ever will. And how on Earth do you manage to effect a safe landing or take-off of Concorde on prehistoric Earth where there's no stable ground or runway?
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Post by Ela on Sept 25, 2016 15:04:37 GMT
I'm really curious as to why Castrovalva out of all stories? I mainly choose it because it would act as a neat closure for the series. Wrapping up Logopolis' loose ends (not to mention doing something useful with its companions to justify their sudden introduction) and reassuring that there is a bright future beyond for the new Doctor, and of course the final end for the Master who has long plagued the Doctor. In terms of the stories before and after it, I think Castrovalva's the only one that makes sense. A single, one-off special story for the new Doctor. I mean if you ended it on Four to Doomsday or Kinda, it'd be a case of "But why stop it there, only two or three stories into his run?" Allowing The Visitation I suppose might take the season to a nice round number of four, but then Tegan's not getting home at the end becomes an issue. A short eccentric story like Black Orchid I cant see making sense as a show wrap-up either. Earthshock might make some sense as a climactic way to end the season but like Logopolis it's too open-ended in how it finishes and maybe not the right tone on which to finish the series. Which only leaves Time-Flight really, which apart from being not very good, also undoes all of Castrovalva's closure on the Master, and breaks so many storytelling rules to do it that the plot falls to bits, and the viewer can't quite trust or believe it as a story, less so as a resolution to the show. Oh, but Castrovalva is such a "meh" story. Nothing special about it, other than it being the Fifth Doctor's first story. It would definitely have been a downer to end Doctor Who on that story. I obviously have never reacted to it in the way you are describing.
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Post by paulmorris7777 on Sept 25, 2016 15:42:00 GMT
What storytelling rules does it break? That there's never really a sufficient explanation how the Master survived the end of Castrovalva, or why he was disguised as Khalid long before the Doctor arrived, or why the Doctor just assumes the Master will be beaten off-screen on Xeraphus and doesn't bother to check, or indeed why Nyssa and Tegan seem so unconcerned at the presence of the villain who murdered their loved ones back in Logopolis..... and the answer to all this, and to why Tegan gets left behind, seems to only be 'because the producer wishes it so'. And if that's the case then it seems anything can happen and so nothing matters, and since the Master's here to stay from hereon, nothing ever will. And how on Earth do you manage to effect a safe landing or take-off of Concorde on prehistoric Earth where there's no stable ground or runway? I see your point! It's something that continues to this day. How did the Master escape Gallifrey, or why he is a woman? or why the Doctor just assumes the Master will be beaten off-screen on Skaro and doesn't bother to check. Seems to only be 'because the producer wishes it so' And if that's the case then it seems anything can happen and so nothing matters, and since the Master's here to stay from hereon, nothing ever will.
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Post by kalendorf on Sept 25, 2016 15:54:14 GMT
Indeed. The Missy episodes for me are the horrendous epitome of Moffat no longer giving a damn what he's writing anymore.
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aztec
Chancellery Guard
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Post by aztec on Sept 25, 2016 15:56:06 GMT
The Master's a woman because regeneration is random and Moffat felt that Gomez was the best choice to play the role, I certainly think she's a great foil to Capaldi's Doctor, and certainly more true to the Classic Master than Simm's ever was, it's not like the Master is a extremely complicated character to play anyway- a calculating genius and/or madcap bonkers super villian should not be restricted to only those who can grow beards, for a show following a millenia old eccentric old man who coerces vulnerable young women to join him traveling around the universe in a big magical box fighting rubber faced aliens I don't find gender swapped regeneration's, that far fetched, they've be at least vaguely canon since the Interfence Novels back in the 1990's...
S8+9 were easily my favourite of the Moffat era, but each to their own.
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Post by Ela on Sept 25, 2016 16:06:05 GMT
Indeed. The Missy episodes for me are the horrendous epitome of Moffat no longer giving a damn what he's writing anymore. There's no evidence that Moffat no longer gives a damn what he's writing. I would say he cares very much. But his vision differs from yours. I understand that you don't like what he's written. You are entitled to that opinion and you are entitled to express your opinion here. Many agree and just as many disagree. But please don't disagree by presuming to know what Moffat thinks and cares about. You don't know and none of us are privy to his personal thought process and writing process for Doctor Who. I will politely ask you to express your opinion without the use of personal detractors of the showrunner(s) and writers of the show. A lot of us here are tired of Moffat bashing. Thanks for reading. And I should add: Welcome to the forum! We are happy to have you here.
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Post by barnabaslives on Sept 25, 2016 17:22:35 GMT
There's no evidence that Moffat no longer gives a damn what he's writing. I would say he cares very much. But his vision differs from yours. I'd have to agree with this. Even when I am cringing at something in the New Series or trying on a daily basis to figure out exactly what New Who has done to upset me now, I really do have the impression that RTD & SM have both put a lot into trying to consistently make a good show. I'm sure assaulting their character really isn't fair. And I should add: Welcome to the forum! We are happy to have you here. Likewise. Interesting and enthusiastic discussion, obviously. Barely a dozen posts and tanlee has already gotten paulmorris7777 to admit that plotholes are not a New Series invention. Bravo! That's interesting too, actually - I do take the NS to task over realism and continuity a lot, which is something I would never do with the OS. Today's attempt to fit a theory in a nutshell is that by upping the ante with human realism, the NS inadvertently ups the ante with realism across the board and invites more scrutiny than was intended or is healthy for the viewer's enjoyment level. Also, I do have to say that if either the OS or NS really weren't that concerned about plotholes or inconsistencies because they are aware what a good job fans are capable of doing patching them up when they put their minds to it, that would be that much less that I could fault the New Series. For example, wolfie53's proposition that basically Missy acts prissy like The Doctor sometimes acts dumb, has most likely rescued my appreciation for that particular embodiment of The Master - but it also highlights that things don't necessarily make as little sense as I might sometimes think at first glace.
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Post by paulmorris7777 on Sept 25, 2016 17:28:12 GMT
There's no evidence that Moffat no longer gives a damn what he's writing. I would say he cares very much. But his vision differs from yours. I'd have to agree with this. Even when I am cringing at something in the New Series or trying on a daily basis to figure out exactly what New Who has done to upset me now, I really do have the impression that RTD & SM have both put a lot into trying to consistently make a good show. I'm sure assaulting their character really isn't fair. And I should add: Welcome to the forum! We are happy to have you here. Likewise. Interesting and enthusiastic discussion, obviously. Barely a dozen posts and tanlee has already gotten paulmorris7777 to admit that plotholes are not a New Series invention. Bravo! That's interesting too, actually - I do take the NS to task over realism and continuity a lot, which is something I would never do with the OS. Today's attempt to fit a theory in a nutshell is that by upping the ante with human realism, the NS inadvertently ups the ante with realism across the board and invites more scrutiny than was intended or is healthy for the viewer's enjoyment level. Also, I do have to say that if either the OS or NS really weren't that concerned about plotholes or inconsistencies because they are aware what a good job fans are capable of doing patching them up when they put their minds to it, that would be that much less that I could fault the New Series. For example, wolfie53's proposition that basically Missy acts prissy like The Doctor sometimes acts dumb, has most likely rescued my appreciation for that particular embodiment of The Master - but it also highlights that things don't always make as little sense as I might sometimes think at first glance. I've never had a problem admitting plotholes in Classic Who, its just they are everywhere in NuWho! NuWho fans can't admit there are plotholes in NuWho!
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