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Tempo 119 posted:Gridlock is the only episode I ever watched twice, because a bunch of people started gushing about how good it was and I had to make sure we'd seen the same thing. I didn't remember Gridlock fondly at all... but I rewatched it just a few days ago and actually really enjoyed it. Although for what it's worth, I'm not sure I knew who Ardal O'Hanlon was the first time I watched it.
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Sep 15, 2014 02:43
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DoctorWhat posted:I loving LOVE Gridlock and you can expect a huge fuckin' effortpost about it shortly. How much of it is about the homophobic cat man?
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Sep 15, 2014 03:33
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Doctor Who "Gridlock" Series 3, Episode 3 I have an interesting relationship, and obsession, with emotional media. Generally speaking, if a piece of media, especially television, can make me feel things, I'll at the very least give it a pass. I have a difficult time crying in real life. I have some, well, let's say "interesting" emotional quirks that make it difficult for me to express real emotion in my life, and it almost never happens. It's a genuinely frustrating character flaw I have, because I consider myself an incredibly empathetic person- in fact, I consider my empathy to be my overall best trait -but I have a very difficult time externalizing an emotion I feel. When I'm dealing with media, though, I can cry and react with the full emotion that I have a difficult time replicating in my normal, everyday life. If I were to guess, the reason why I love emotive media so much is because I'm able to deal with my generalized emotions I'll feel in a way that's cathartic, but behind a layer of reacting to a work of fiction. That's my theory, anyways. All this is to say I have a very special relationship with emotive media. I cried three separate times while watching the LOST finale, for instance- which is part of the reason I can't rationally talk about that show (and don't) on these forums, because of how deep an emotional connection I made with the show. I cried for roughly five minutes straight watching the Six Feet Under finale (for those of you that watched it- it was during the montage at the end of the episode), and I'll still pop it in from time to time when I feel like having a good cry. In the realm of video games, the game NieR has such an emotionally affecting ending(s) for me that it can make me tear up just thinking about it. Hell, I watched the absolute piece of poo poo dreck that is The Newsroom for an entire, worthless, loving season just because there were episodes that made me tear up- despite those scenes being so coldly and brutally emotionally manipulative that it bordered on the disgusting. (Have fun with that show, by the way, MrAristocrates.) All those moments, those moments when I felt overwhelming emotion- not just sadness, but joy and anger and everything in between -are my favorite moments in media (well besides The Newsroom. gently caress that show). I appreciate a well crafted story in the technical sense, love a good line of dialog, love stupid stuff, love great characters and love a good plot, I love all these things. But. They all fall away to nothing in the face of pure emotionality- for me anyways. So it says a lot when I say that "Gridlock" almost made me cry, twice, in the same episode of television. To me, it's an absolutely incredible episode of television that will go right up there in my own personal pantheon of great Who episodes, solely because of how successful it was at making me, well...making me feel. "Gridlock" opens incredibly weakly- The Doctor decides to take Martha into the future, specifically to the year five billion and fifty-five, to New Earth, to New New York (well, specifically the motorway leading to New New York). So, in essence, the episode begins as a redux of "New Earth", one of the worst episodes of Series 2. Martha soon gets kidnapped by a young, pregnant couple, Milo (Travis Oliver) and Cheen (Lenora Crichlow) who want to travel to New New York quickly, and need her as a third passenger to enter the carpool lane. See, in the future, traffic and congestion is so bad that it takes years and even generations to travel the distance of a couple of miles, and the only option available is to drive- the motorway is too choked with smog to make conventional travel possible or even remotely healthy. The Doctor, meanwhile, holes up in a different car with a cat-man Brannigan (Ardal O'Hanlon) and his human wife Valerie (Jennifer Hennessy). They've been on the motorway for the past several decades, with naught to show for it but a litter of cat-human hybrids (which are adorable if still kinda disturbing). The episode flits between Martha and The Doctor's situations at will, focusing mainly on establishing the backstory of the world that the guest actors now inhabit. There's heavy implications that there's some sort of evil, dark force taking out passengers on the fast lane, which of course turn out to be true- it's revealed that the Macra, a race of evil crabs that were at some point evil genius masterminds, established the motorway (and its attendant smog issues) to be able to live indefinitely- apparently, they feed off of smog and gas. Unfortunately, the generations and generations of living in the motorway have devolved them to the point where they're just bloodthirsty brutes that attack anyone and anything that enters into the fast lane. The Doctor, meanwhile, frantically attempts to get back to Martha, descending through the rows and rows of stationary flying cars in the process. However, he's thwarted at the last minute by Novice Hame (Anna Hope), one of the cat-nuns responsible for the human cloning thing in "New Earth", now fifty years older and sufficiently guilty over her actions. She transports him to the New New York Senate, who, it turns out, has been dead for almost three decades. Apparently, a lethal and incredibly contagious viral infection spread through the world, killing everyone on it within minutes. However, in a final act of self-preservation, the Senate blocked off all access aboveground via the parkways, essentially saving the human race- but also dooming the residents of the motorway to travel pointlessly to a destination that would never come. In the intervening years since the virus spread, it died out; however, there was nobody alive who knew how to open the gates again, so the Face of Boe spent the intervening years desperately, and futilely, giving his life force to keep the ventilation systems and the motoway cars' automated systems (which include food/water production and energy production) going until The Doctor showed up. In any case, the Face of Boe gives up the last of his life energy to bring all the system controls back online for The Doctor, who opens up the gates to New New York, thus saving the day for all the denizens of the motorway while also allowing them the ability to reclaim their dead planet. Let's talk about the bad parts first. Firstly, it's an episode of television that explicitly feels like a retread of a Rose episode; it's why I said the beginning was the weakest, because the opening seems to be flagrantly tone-deaf about how such an episode would be perceived or how such a comparison totally disserves Martha's character. It seems like RTD being RTD about how obsessive over Rose he is and how much he misses her, and it's a terrible foot for the episode to start out on. "Here's a setting where Rose was, and she was totally awesome", RTD implies. "Why can't you be as awesome as Rose, Martha? Why do you suck so bad in comparison to her?", he plaintively wails. Luckily, however, it seems like RTD finally seemed to understand how poorly his treatment of Martha has been for the past several episode, and how toxic he has made The Doctor's obsession with her in the sense of the overall plotting of Doctor Who Series 3, because we finally get the long-awaited for moment of confrontation between Martha and The Doctor. To wit: Martha: "When you say 'last time', was that...you and Rose?" The Doctor: "Um...yeah, yeah it was, yeah." Martha: "You're...taking me to the same planets that you took her?" The Doctor: "What's wrong with that?" Martha: "Nothing! Just never heard the word 'rebound'." It's a wondrous little exchange, because it strengthens Martha's character immensely, and finally chastises The Doctor (and RTD by extension) for his obsessive and overall unhealthy compulsion with Rose. Up until now, The Doctor has been defining his entire relationship with Martha via Rose; either complaining how she's not Rose, or desperately trying to make her a replacement Rose and failing. This little scene really put a fine point on how weird and hosed up The Doctor had been acting this season up until now, and by having Martha be the one to arrive at that conclusion and confront The Doctor about it it gives her the independence and agency that had been sadly lacking for her character up until this point. But beyond that, this episode is a huge, unfocused mess. There's a weird subplot about people selling "emotion" patches (Happy, Sad, Angry, Honest, etc) that feels like some sort of Very Special Subplot about how drugs are really bad. It never goes anywhere and I didn't even mention it in my plot summary because it has no real effect on "Gridlock" at all. I mean, it turns out that the New New York Senate were using the "Bliss" patch when the virus hit -which was apparently an unforseen byproduct of the company manufacturing the emotion patches or something? gently caress, I dunno, it's really confusing. It's stuff like that, compounded by the existence of the Macra, whose entire subplot seems rather unnecessary. A doomed race that is unaware of their fate, condemned to wander endlessly on the highway for the rest of their lives, barely if ever physically interacting with anyone else, in a dark tunnel full of lethal gas, seems like sufficiently high stakes for an episode of Who, and the Macra only seek to muddle the overall throughline of the episode in the same way that the Emotion Drugs subplot did. Even though it gave Martha some great scenes and sequences, especially with Milo and Cheen, and allowed her to give her good moments of character growth, the Macra were overall a net negative in "Gridlock". But. But. The scenes that were good, were so loving good that it doesn't really matter. Again, I nearly cried twice in this episode. The first time was at this little two-line exchange: Novice Hame: "We had no choice." The Doctor: "Yes you did." I'm not exactly sure why that little exchange hit me as hard as it did- perhaps it was the way Tennant delivered the line "Yes you did." and the feeling of sorrow I had for Hame and the Face of Boe spending their entire lives (in Boe's case- literally) in what was ultimately a desperate, futile holding pattern, or the pride I felt for Hame and Boe for their sacrifice, or maybe both, but I started choking up and even as I was doing so I was completely bewildered by why this was so emotionally affecting for me. But it was, so here we are. But that's kind of what the appeal of this episode is- it's a series of big, swooping emotional moments that you're either on board with or you're not. In my experience, I was, so my heart swelled when all the humans cooped up in their little cars stare up in wordless, expressionless joy at the light filtering through the opened seal, their first glimpse of daylight in decades, if ever. I was moved to, and I'm not exaggerating, my very soul when the little fleet of parked cars started to sing along to the hymnal "Abide With Me". I don't really have an emotional connection or investment in the Face of Boe, but I could objectively agree that his (its?) final, beautiful scene with The Doctor was an incredibly emotionally affecting sequence for Face of Boe fans. And finally, I nearly broke down at the very end of the episode, when The Doctor finally owns up to Martha and recounts the fate of his doomed race to Martha, as "Abide With Me" goes on in the background to close out the episode. It's a haunting, emotionally incredible, emotionally resonant scene that nearly made me weep. "I lied to you, because I liked it. I could pretend- I could imagine they were still alive, under that burnt orange sky. I'm not just a Time Lord- I'm the last of the Time Lords." It was just incredible, so incredible I can barely talk about it in any way approaching rational. The mere fact that I could be so emotionally invested in another, much less fictional, character is a testament to how well done the scene was, and how much it affected me. Just...just a great loving scene. This episode, more than any other, is what Who is. It's the Who-iest Who to ever Who. It has all the problems endemic to this show- an unfocused plot, a general confluence of a bunch of ideas that don't really work, and a schizophrenic tone and pacing that is almost nausea-inducing. But, the high points are so loving high that it demolishes its drawbacks to make an incredible episode of television that works almost despite itself. Who, at its best, creates memories that you will treasure with the very best media you've ever experienced, your LOSTs and Six Feet Unders and NieRs, even in spite of its myriad flaws. No episode of Who, none, is more emblematic of this philosophy than "Gridlock". Period. loving incredible, Grade: A Random Thoughts:
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Sep 15, 2014 04:20
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Whoever bought that av needs to come forward right loving now and be knighted.
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Sep 15, 2014 04:24
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The very final scene of this episode is probably one of my favourite moments of David Tennant's entire time on Doctor Who, as he describes Gallifrey to Martha and it begins of overwhelm him. That moment alone makes Gridlock a great one.
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Sep 15, 2014 04:27
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hcreight posted:Whoever bought that av needs to come forward right loving now and be knighted. This but murdered instead.
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Sep 15, 2014 04:30
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The Face of Boe is one of the things I like because I enjoy the Face of Boe. The cat people are just weird to me, it's just a reaction I have to people dressed up like cats in that specific way. It makes it hard for me to connect with them. They're good in this episode, probably, because there's a diverse array of them, instead of being the usual "humanoid race with a single defining characteristic" that sometimes happens. One thing the RTD years did well was making the Universe feel vast and populated with lots of people living a diverse set of everyday lives. You're right in that the episode is very Tennant. I think I rate it as kind of average.
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Sep 15, 2014 04:32
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Bicyclops posted:One thing the RTD years did well was making the Universe feel vast and populated with lots of people living a diverse set of everyday lives. This. For all of RTD's faults, his run on DW is incredibly varied and creative. Present Who feels very small in comparison.
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Sep 15, 2014 04:35
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MikeJF posted:The very final scene of this episode is probably one of my favourite moments of David Tennant's entire time on Doctor Who, as he describes Gallifrey to Martha and it begins of overwhelm him. That moment alone makes Gridlock a great one. This, pretty much. I loved this episode for all the strange and funky characters who inhabit the cars, but this is the moment that I come back to again and again.
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Sep 15, 2014 04:36
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Tennant gets a lot of guff for being a little over the top but the writing makes him bounce from being very sad at being the last of the Time Lords to being shouty and didactic at people he doesn't approve of to coldly genocide-drowning spider children and to his credit, he sells most of it pretty well.
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Sep 15, 2014 04:39
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Regarding The Gay Stuff, this episode loving pissed me off on that front because in the process of being unsubtle about it, RTD managed to inadvertently be counterproductive; Cat Man apparently doesn't like to admit that the two nice old lesbians are two nice old lesbians, thus making the incredibly depressing prediction that homosexuality being regarded as weird and not normal will still be around and remembered to some degree five loving billion years from now. THANKS, RTD, THAT'S AWESOME.
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Sep 15, 2014 04:47
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Toxxupation posted:Good job, New Jersey. Only took you five billion years. Even with giant crab monsters in the tunnels and everyone dead, New New Jersey somehow manages to somewhat better than the first run try.
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Sep 15, 2014 04:47
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I don't think RTD front-features gay stuff at all, it's just occasionally mentioned, usually in a euphemistic way or a way that implies it's a bit of a sore subject. There are exceptions to this (Captain Jack, that one later episode) but for the most part it's barely there in the show.
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Sep 15, 2014 04:50
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Doctor Who "Gridlock" Series 3, Episode 3 I commute to New York for work and every day there's traffic. On bad days, which is to say most days, it's one long serpent of metal baking in the shiny morning sun - and not just on the highway, either. Every feed, every loop, every road on the way in is choked with vehicles. You can look into the windows of these cars and their drivers are either patiently staring forward or, if things are especially bad, playing with their phones. There are people who suffer this every day, awake and aware, spending hours moving forward by inches only to wait a few hours more and then move back again. If you ever wanted a trite metaphor for the soul-eroding inanity of modern society, well, there it is. At least I can take a drat nap on the bus. Traffic's always held a special place in my mind, and not just because it turns automotive transportation into a hellish queue where bumping into someone means that you must give them ten thousand dollars. When I was still in grade school I read a poem by Shel Silverstein about a group of drivers at an intersection whose traffic light was caught on red; the drivers patiently waited there forever, expecting it to change. In the lovely little point-n-click adventure/text game Kentucky Route Zero you can glimpse a long line of traffic on a highway that's still being built; the drivers wait for the highway workers to lay another few feet of road, drive forward, and then stop and wait again. Recently in China, a fairly tremendous accident trapped commuters on the highway for an entire week, long enough for a timid little ad-hoc society to form among the drivers until the accident was cleared; the community broke up, and everyone went back to work. Traffic, for something so tedious and everyday, has an almost mystical quality. We can't avoid it, so we stay in denial about what a horrible, time-wasting, mind-melting trudge it is, how it will only get worse as our infrastructure continues to decay - it's the symptom of a disease we have to ignore, because the cure is nowhere in sight. It's because of chin-stroking like that that I've always thought fondly of "Gridlock," despite its myriad issues and the issues of Season 3 as a whole. The New Earth Motorway is among one of Doctor Who's greatest settings, implying its grandeur and decay with a few simply CGI shots while spending most of its time on the wonderful little sets of the cars themselves, each a home tailored to the tastes of its drivers. There's a special amount of care given to explaining how someone could live in these cars for decades at a stretch (and honestly, they're still fairly roomy compared to some modern apartments) along with a few other vaguely alluded-at details like "motorway pirates" who would board and burgle other cars, presumably for food and muscle stimulants, and the varied cast of bit characters whose cars the Doctor speeds through on his descent to the smog-choked fast lane. It's an entire society formed out of an endless commute, and the idea's fascinating to me. Of course, a good idea only gets you so much. I tend to regard episodes highly only if they have some kind of coherent thematic thread, and you'd be hard-pressed to find that in "Gridlock," which is a ramshackle mess the likes of which only Davies could produce. The anti-drug angle is barely coherent even with its plot-relevant purpose revealed later (though I do like the idea of the disease-free New Earth finally being exterminated with a virus that arose from its own pharmaceuticals), the scenes with the Face of Boe are a larger arc intruding on a story that would be much better off stand-alone, and we get the Doctor telling, again, the story of Gallifrey's fall. "Gridlock" is better than average for Season 3, but it's still reusing the same plot beats as Season 1, to its detriment. And yet! And yet. There is a theme here. A clear and easily gleaned one! Namely: denial. The thought of people driving on Interstate 8 for 20 goddamn years without questioning the lack of support services beggars belief at first, but in truth - and especially for me - it's not too far removed from the patient resignation we get in traffic today. On some level, everyone in the Motorway knows that no help is coming, but they need to pretend, so that all of their time doesn't feel wasted. Likewise, when Martha finally corners the Doctor on how he's stonewalled her regarding his own past, he cracks and confesses that he wanted to pretend that his planet was still standing. The thread joins, and we get an actual plot out of the episode instead of a mere handful of interesting ideas; it also makes the Doctor's nth reiteration of the Time War effective in spite of itself, as he visibly chokes back tears at his description of Gallifrey's sky. He's not just remembering Gallifrey, he's saying goodbye to it, once but probably never for all. The end is never the end. There's a shockingly strong emotional core in "Gridlock" despite its premise filled with traffic and crab-people and giggly Irish cat-men. As I've said before, unlike Occupation, I have a heart of coal and tend to lock down like a bank vault whenever something tries to make me weepy, but "Gridlock" is able to skirt all but the most thorough defenses with its brief, strong, emotive moments flitting about the outlandish premise. Even the communal-commute hymn, an inherently ridiculous idea, is treated with such reverence and sincerity that most can't help but be taken in by it, as Martha was - and as a side note, she continues to be excellent, keeping her outrageously stupid kidnappers alive throughout the entire episode, and only then because their stickup gun had been fake, because otherwise she'd have blown them away before blinking the sleep out of her eyes. Despite her outrage, she gets all teary at that song, which, in an especially clever moment, even turns out to reflect the events of the episode itself. Don't believe me? Here, let's do a little word-swap with that last stanza: quote:Hold Thou Thy cross before my closing eyes; Well, that's "Gridlock." Following the pattern of Season 1, we have a meetup episode and two set in the past and future - one so-so, the other quite nice. If this pattern holds, what comes up next should be a two-parter so horrifically stupid as to make even steel-willed men collapse and pray for a quick aneurysm to rush them from this vale of tears. But I don't think it can match the farting ali- ohhhhhhhhhhh no
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Sep 15, 2014 04:52
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MikeJF posted:Regarding The Gay Stuff, this episode loving pissed me off on that front because in the process of being unsubtle about it, RTD managed to inadvertently be counterproductive; Cat Man apparently doesn't like to admit that the two nice old lesbians are two nice old lesbians, thus making the incredibly depressing prediction that homosexuality being regarded as weird and not normal will still be around and remembered to some degree five loving billion years from now. THANKS, RTD, THAT'S AWESOME. Let's say all future humans regard it as normal, but cat people are really conservative. Cat people message boards are like Free Republic. Lycus fucked around with this message at 04:54 on Sep 15, 2014 |
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Sep 15, 2014 04:52
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MikeJF posted:Regarding The Gay Stuff, this episode loving pissed me off on that front because in the process of being unsubtle about it, RTD managed to inadvertently be counterproductive; Cat Man apparently doesn't like to admit that the two nice old lesbians are two nice old lesbians, thus making the incredibly depressing prediction that homosexuality being regarded as weird and not normal will still be around and remembered to some degree five loving billion years from now. THANKS, RTD, THAT'S AWESOME. There is basically no way that the jolly Irish kitty-man wasn't being facetious about that. His wife hosed a cat. Glass houses, glass houses.
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Sep 15, 2014 04:53
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When do the Cat People children, which are just talking cats, turn into fullgrown Cat People with billion year old bigotry, anyway? Do they use laser pointers to play with the little ones? I don't know why they bother me so much, I don't have these kinds of questions about any of the other races!
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Sep 15, 2014 04:53
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Oxxidation posted:ohhhhhhhhhhh no I HAVE BEEN WAITING ALL THREAD FOR THIS. People have the audacity to say that Love and Monsters/Fear Her is the big one two punch of awful because they forget. Their minds won't let them remember. I wish I could forget.
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Sep 15, 2014 04:54
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Oxxidation posted:There is basically no way that the jolly Irish kitty-man wasn't being facetious about that. His wife hosed a cat. Glass houses, glass houses. Yeah, he was clearly friendly with them, but just the idea of homophobia still being in public consciousness that far into the future is sad. It should have been forgotten and buried that there was ever a difference between straight and gay relationships in terms of acceptance four point nine nine nine nine nine nine billion years before. I dunno, nitpicky, but it bugged me. Zaggitz posted:I HAVE BEEN WAITING ALL THREAD FOR THIS. People have the audacity to say that Love and Monsters/Fear Her is the big one two punch of awful because they forget. I don't remember what's next, to Wikipe- Oh poo poo, it's the MikeJF fucked around with this message at 04:58 on Sep 15, 2014 |
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Sep 15, 2014 04:55
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Zaggitz posted:I HAVE BEEN WAITING ALL THREAD FOR THIS. People have the audacity to say that Love and Monsters/Fear Her is the big one two punch of awful because they forget. I honestly had forgotten what came next until this post. 
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Sep 15, 2014 04:58
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Zaggitz posted:I HAVE BEEN WAITING ALL THREAD FOR THIS. People have the audacity to say that Love and Monsters/Fear Her is the big one two punch of awful because they forget. So true. I really think season 3 has the biggest range in quality. Can't wait for the next few reviews!
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Sep 15, 2014 05:11
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NOPE. No talk about future episodes. Stop it. --Annakie
Somebody fucked around with this message at 19:25 on Sep 15, 2014 |
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Sep 15, 2014 05:14
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Toxxupation posted:I wish the thread didn't kick up that gay agenda dust storm because it really colored my perception of the scene between Brannigan and the lesbian couple, and made me overtly aware of whenever there's a gay character onscreen in a way that's distracting. Oxxidation posted:The thought of people driving on Interstate 8 for 20 goddamn years without questioning the lack of support services beggars belief at first, but in truth - and especially for me - it's not too far removed from the patient resignation we get in traffic today. On some level, everyone in the Motorway knows that no help is coming, but they need to pretend, so that all of their time doesn't feel wasted. Likewise, when Martha finally corners the Doctor on how he's stonewalled her regarding his own past, he cracks and confesses that he wanted to pretend that his planet was still standing. The thread joins, and we get an actual plot out of the episode instead of a mere handful of interesting ideas; it also makes the Doctor's nth reiteration of the Time War effective in spite of itself, as he visibly chokes back tears at his description of Gallifrey's sky. He's not just remembering Gallifrey, he's saying goodbye to it, once but probably never for all. The end is never the end.
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Sep 15, 2014 05:15
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You are an unspeakably tedious little man but it is good you're here because we need someone who's a perpetual "IT STINKS!" baseline to which everyone else can compare themselves.
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Sep 15, 2014 05:16
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Tiggum posted:It's not always too bad, but there are definitely times when it feels like the episode stops for a PSA about how gay people are just like everyone else. I honestly don't think anything like this happens a single time in RTD's run. Maybe once? LGBT issues are barely mentioned in the grand scheme of things, and when they are it's a coin flip whether it'll be a "cheeky" joke or an innocuous mention of "oh, this character is gay".
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Sep 15, 2014 05:18
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Well I'm very sorry for bringing up the LGBT-pandering. Really I am. I never thought it was that bad myself and like I've said I'm ultimately in support of it. I only mentioned it because it was one of those big obvious points of contention with RTD's run, and boy howdy did I underestimate the life still kicking in that dead horse. On the bright side, we are finally at the episodes I've been waiting for. It's almost up there with Love & Monsters in its infamy for me. The best part? I have no idea what'll happen as Toxx has proven to be surprisingly unpredictable in his assessment of Who.  This is going to be great.
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Sep 15, 2014 05:22
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For what it's worth I'm the dude who bought that avatar. I'm not sure if I should regret this.
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Sep 15, 2014 05:24
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I think I need to give these two a rewatch.
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Sep 15, 2014 05:24
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SALT CURES HAM posted:For what it's worth I'm the dude who bought that avatar. I'm not sure if I should regret this. No worries, I'll clear up your indecision in good time. You'll know exactly whether you should regret this. I told Occ already so I'll make it a general announcement - the forthcoming episode is the one where I went "gently caress IT" and snapped it off. The only one. The one and only one. So, this should be an adventure for everybody.
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Sep 15, 2014 05:27
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Can you spoil-tag exactly what moment that was please? I want to know just what we have to look forward to
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Sep 15, 2014 05:29
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Oxxidation posted:No worries, I'll clear up your indecision in good time. You'll know exactly whether you should regret this. I won't get too mad, turnabout is fair play. 
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Sep 15, 2014 05:36
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mind the walrus posted:Can you spoil-tag exactly what moment that was please? I want to know just what we have to look forward to It's a little more complicated than just one "last straw" moment. All in good time!
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Sep 15, 2014 05:38
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Oxxidation posted:I told Occ already so I'll make it a general announcement - the forthcoming episode is the one where I went "gently caress IT" and snapped it off. The only one. The one and only one. So, this should be an adventure for everybody. I would think it would be the next one, but either way this should be interesting.
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Sep 15, 2014 05:39
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Oxxidation posted:No worries, I'll clear up your indecision in good time. You'll know exactly whether you should regret this. Since you've already said that, it's a good time to say that it's too bad that one of the few episodes written by a woman for the revival is this two parter, because it's just so embarrassingly bad, from the writing to the production to some of the acting. There are classic Who rubber masks that would still look better today.
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Sep 15, 2014 05:42
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Oxxidation posted:It's a little more complicated than just one "last straw" moment. After all, there are so many to choose from!
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Sep 15, 2014 05:45
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Bicyclops posted:Since you've already said that, it's a good time to say that it's too bad that one of the few episodes written by a woman for the revival is this two parter, because it's just so embarrassingly bad, from the writing to the production to some of the acting. There are classic Who rubber masks that would still look better today. Claws of Axos' baddies come to mind.
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Sep 15, 2014 06:15
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When I said this earlier quote:I love this show, having blitzed through the first 5 seasons and started watching live at series 6. There's a lot more crap that you're going to be wading through if you're seeing this whole thing through to the end, but at least you'll be past the worst two individual episodes after this. I would argue that there's a two-parter later on that's worse than either of these. These upcoming episodes were what I was talking about. I'll actually be interested in your write up because there are very few details that I remember about them, and I can't even say the particular reason that I hated them so much, though I do seem to remember the second part being the worse of the two. All I know is that at same point after watching, my brain simply labeled these episodes terrible and promptly purged all details. Well, all details except that costume. You'll know what I mean.
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Sep 15, 2014 06:24
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Gridlock is a great episode to point to to show exactly why I prefer RTD's run. It's messy as hell but is so jam-packed with ideas and genuinely emotional moments that I would sit through a whole bunch of farting aliens and pavement blowjob jokes just for the episodes like this and my other favorites. Speaking of, MAN am I excited for you to get to the back half of this season. edit: VVVVV basically, this Escobarbarian fucked around with this message at 07:16 on Sep 15, 2014 |
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Sep 15, 2014 06:45
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OH, Gridlock. I love you, Gridlock. Gridlock is a story about a hosed-up society that is self-perptuating; all the "bad guys" are long dead or literal mindless bottom-feeders. Then the Doctor shows up with a bit of perspective and TEARS IT ALL DOWN YEAAAHHHHH!!!! Gridlock is about how people in trying circumstances become connected to one another, and become better people. Gridlock is abouthow selflessness and a commitment to social change can WORK, no cynicism or cruelty involbed. Gridlock is about the triumph of goodwill and positivity over greed and hatred. Gridlock is one of my top 5 DW stories ever.
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Sep 15, 2014 07:02
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| # ? Apr 25, 2024 18:14 |
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Gridlock features a homophobic catman! YEAH! HOMOPHOBIA! THAT'S WHAT I WANT IN MY TOP FIVE DW EPS.
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Sep 15, 2014 07:07
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