Doctor Who Fangirl-ism
Again with the convergence of multiple areas of my life, though this one's somewhat more trivial: I find myself absolutely surrounded by David Tennant fangirls. Not sure what to make of it, but... ladies, y'all are adorable with the squeefulness, so carry on.
I even have a contribution, in case anyone hasn't seen it:
In my (totally unbiased, of course) opinion, Matt Smith is adorable here. I'm sure some of you will appreciate Tennant, too. (FYI: Matt Smith is on the Nathan Fillion list; David Tennant, though I absolutely love him as an actor, is not.)
This segues nicely into another bit of fannish rambling. I'm still slowly making a second pass through New Who, as I tend to do with shows I get obsessed over.
The other day, I re-watched "The Girl in the Fireplace." It's one of Moffat's episodes, and like everything he writes, I found it suspenseful and at least a little creepifying the first time through. But part of what I love about his writing is that ("Flesh and Stone" excepted) the creepiness dissipates once I know what's going on. So this time, I was able to focus on other things. I think this is one of my overall favorite episodes, both for the story contained within it, and for its contribution to the season-long (and series-long) arc.
It was pretty clear to me, this time, that Reinette's role in the series is to make sure the audience knows that the Doctor -- this Doctor, anyway; Tennant's Doctor or RTD's Doctor -- is capable of having the full, human range of responses to a human. He's capable of feeling not just friendship, protectiveness and affection; not just love; but also attraction and all-out lust. Look at the scene where Reinette kisses the Doctor the first time. She initiates it, sure, but watch Tennant's hands, and look at the expression on his face after she backs away. He's utterly gobsmacked. And that knowledge -- that a human woman can make him feel like that -- is important to understanding the emotional context of the rest of the season. The next time I remember seeing that awed expression is in "The Idiot's Lantern," when he first sees Rose in her 1950s get-up. We have to see all this in order to understand the magnitude of the events that take place over the rest of the season.
The other thing that struck me, on rewatching "The Girl in the Fireplace," was the sheer prettiness of it. The golden lighting, the use of color, even the contrast between the coldness of the ship and the warmth of 18th century France. Sophia Myles in period costume, and especially that one scene between Sophia Myles and Billie Piper... I could watch it on a loop for 24 hours straight and not get bored. All I want ever in life for Christmas is Rose/Reinette, and where was that idea when I was placing my request for femslash10 ? My god. I get all wobbly from the pretty. (Oh -- is this how you guys feel about Tennant?)
Of course, that drives all more complicated thoughts entirely out of my head. And that's ok: I'm home for the night, I have a beer and a cheese sandwich, and I still have room for several dozen more LJ icons. So I'm going to play with pretty pictures of pretty girls.
I even have a contribution, in case anyone hasn't seen it:
In my (totally unbiased, of course) opinion, Matt Smith is adorable here. I'm sure some of you will appreciate Tennant, too. (FYI: Matt Smith is on the Nathan Fillion list; David Tennant, though I absolutely love him as an actor, is not.)
This segues nicely into another bit of fannish rambling. I'm still slowly making a second pass through New Who, as I tend to do with shows I get obsessed over.
The other day, I re-watched "The Girl in the Fireplace." It's one of Moffat's episodes, and like everything he writes, I found it suspenseful and at least a little creepifying the first time through. But part of what I love about his writing is that ("Flesh and Stone" excepted) the creepiness dissipates once I know what's going on. So this time, I was able to focus on other things. I think this is one of my overall favorite episodes, both for the story contained within it, and for its contribution to the season-long (and series-long) arc.
It was pretty clear to me, this time, that Reinette's role in the series is to make sure the audience knows that the Doctor -- this Doctor, anyway; Tennant's Doctor or RTD's Doctor -- is capable of having the full, human range of responses to a human. He's capable of feeling not just friendship, protectiveness and affection; not just love; but also attraction and all-out lust. Look at the scene where Reinette kisses the Doctor the first time. She initiates it, sure, but watch Tennant's hands, and look at the expression on his face after she backs away. He's utterly gobsmacked. And that knowledge -- that a human woman can make him feel like that -- is important to understanding the emotional context of the rest of the season. The next time I remember seeing that awed expression is in "The Idiot's Lantern," when he first sees Rose in her 1950s get-up. We have to see all this in order to understand the magnitude of the events that take place over the rest of the season.
The other thing that struck me, on rewatching "The Girl in the Fireplace," was the sheer prettiness of it. The golden lighting, the use of color, even the contrast between the coldness of the ship and the warmth of 18th century France. Sophia Myles in period costume, and especially that one scene between Sophia Myles and Billie Piper... I could watch it on a loop for 24 hours straight and not get bored. All I want ever in life for Christmas is Rose/Reinette, and where was that idea when I was placing my request for femslash10 ? My god. I get all wobbly from the pretty. (Oh -- is this how you guys feel about Tennant?)
Of course, that drives all more complicated thoughts entirely out of my head. And that's ok: I'm home for the night, I have a beer and a cheese sandwich, and I still have room for several dozen more LJ icons. So I'm going to play with pretty pictures of pretty girls.