All hail Moffat
Jun. 8th, 2008 12:54 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
lonelybritWord of warning - if you hated this week's ep, this is not the place to voice that opinion. This post is full of heartbroken squee, let me enjoy it :)
Suffice to say that yes, I loved this week's ep. I didn't actually cry, but god was it a close call. My eyes were welling up at certain points. Hats off to Moffat. Also, serious hats off to Tate. Donna broke my heart this ep and she is now my favourite companion of the RTD era - I'm 'alright' too *sniffle*
First off - understand that one problem I have when it comes to movies/films/fics, is the idea of life after death. It's a personal thing but I don't like being told for certain one way or another.
So the fact that this ep's ending, with effectively Song and the others winding up skipping through the cyber equivalent of heaven, didn't bug me but actually left me pleased as a chocoholic let loose in Cadbury's should signal that, yes, I was highly, highly pleased with this week's offering.
I was fine, really I was, I was just enjoying the twists and turns of the ep. And then Donna lost her kids. It would have been so easy for a writer to ease up on the grief, but Moffat didn't. It would equally have been very easy for an actor to not pitch that grief just right, but Tate didn't. As a result, my heart was shredded as Donna broke down in her childrens' bedroom. Knowing they weren't real and feeling they weren't real were two different things, and for me it was the darkest moment of the episode and I loved it.
In a similar vein, I admire that the death of that lady whose name I can't remember wasn't made easy for us. We could see that she was scared but being brave, but despite the Doctor being there we still lost her. Less dark than the children in that it was less emotionally obvious (and frankly thank f**k for the kids who were watching), but it was still a horrible moment. So whilst I felt for both Lee and Donna missing each other by seconds at the last, in comparison to what had gone before, I couldn't help but think 'But they're alive'. Which actually was a good thing, I don't think my heart could have taken much more by the time the credits rolled.
River Song.
Hmm.
Yep, I'm going with wife of some kind. Obviously she is there when the Doctor finally tells his real name. Is it meant to mean that she is there when he dies? In any case, they are seriously important to each other. What I also loved in this storyline was how what what originally was a source of grief, turned into a reason for hope. At the start, she was going to die being comforted by someone who didn't really know who she was. The man she presumably loved in whatever capacity had yet to emerge from time. It seemed so sad and so lonely.
And then Moffat turned it on its head. Because that time gap worked in Song's and the Doctor's favour, and he realised it gave him the chance to save her. 'See us run'. It's yet to come, at some point the Doctor will be one frightening being who can make armies flee, and it all starts here. Wibbly wobbly time-y wime-y stuff. Excellent =)
Suffice to say that yes, I loved this week's ep. I didn't actually cry, but god was it a close call. My eyes were welling up at certain points. Hats off to Moffat. Also, serious hats off to Tate. Donna broke my heart this ep and she is now my favourite companion of the RTD era - I'm 'alright' too *sniffle*
First off - understand that one problem I have when it comes to movies/films/fics, is the idea of life after death. It's a personal thing but I don't like being told for certain one way or another.
So the fact that this ep's ending, with effectively Song and the others winding up skipping through the cyber equivalent of heaven, didn't bug me but actually left me pleased as a chocoholic let loose in Cadbury's should signal that, yes, I was highly, highly pleased with this week's offering.
I was fine, really I was, I was just enjoying the twists and turns of the ep. And then Donna lost her kids. It would have been so easy for a writer to ease up on the grief, but Moffat didn't. It would equally have been very easy for an actor to not pitch that grief just right, but Tate didn't. As a result, my heart was shredded as Donna broke down in her childrens' bedroom. Knowing they weren't real and feeling they weren't real were two different things, and for me it was the darkest moment of the episode and I loved it.
In a similar vein, I admire that the death of that lady whose name I can't remember wasn't made easy for us. We could see that she was scared but being brave, but despite the Doctor being there we still lost her. Less dark than the children in that it was less emotionally obvious (and frankly thank f**k for the kids who were watching), but it was still a horrible moment. So whilst I felt for both Lee and Donna missing each other by seconds at the last, in comparison to what had gone before, I couldn't help but think 'But they're alive'. Which actually was a good thing, I don't think my heart could have taken much more by the time the credits rolled.
River Song.
Hmm.
Yep, I'm going with wife of some kind. Obviously she is there when the Doctor finally tells his real name. Is it meant to mean that she is there when he dies? In any case, they are seriously important to each other. What I also loved in this storyline was how what what originally was a source of grief, turned into a reason for hope. At the start, she was going to die being comforted by someone who didn't really know who she was. The man she presumably loved in whatever capacity had yet to emerge from time. It seemed so sad and so lonely.
And then Moffat turned it on its head. Because that time gap worked in Song's and the Doctor's favour, and he realised it gave him the chance to save her. 'See us run'. It's yet to come, at some point the Doctor will be one frightening being who can make armies flee, and it all starts here. Wibbly wobbly time-y wime-y stuff. Excellent =)
