One thing that occurred to me in the post-viewing dicussion last night is that the TARDIS here is shown in a way opposite form the Doctor's Wife - there, pretty much everything but her soul was stripped away, while here, we get to see as much of the ship as we ever have, I think since Castrovalva, but her essence is kept hidden behind heavy defences.
As for the console, maybe she let it beopened to allow the voices to "attack" the intruder?
Big Friendly Button: even the word "reset" was mentioned in or around that scene... Oh meta! :-)
I really liked it, but I have no idea what was going on in the last five minutes. I missed the roundels too. Otherwise, the last couple of episodes has seen the season finally start to get better after a slow start.
I wondered whether there had been some edits for time which made the resolution difficult to follow; there was a step missing in the arguments about time which I couldn't find, which is unusual. Generally, I've liked this season, but thought the aspirations of the script came closest to overwhelming the production in this episode than any other this year.
I didn't notice the edit, but I found a lot of the dialogue in this episode inaudible, even after I wound the DVD back, including what sounded like important exposition; on a couple of occasions I just gave up eventually, for example I have no idea what Clara was described as after 'Lancashire'.
I've found this season (starting from Asylum of the Daleks) odd inasmuch as on paper many of the ideas have been good and the realization has also generally been of a high standard - and yet somehow only rarely has it gelled and really gripped me and I don't quite know why. I think I've admired episodes like The Angels Take Manhattan and The Bells of Saint John rather than being gripped emotionally. It's not 'the memory cheats' as the previous two Moffat seasons seemed much more emotionally involving to me, especially the 2011 season, which I seemed to enjoy more than anyone I knew.
It reminds me of season twelve, which is popular with fans, yet somehow even The Ark in Space and Genesis of the Daleks don't really do much for me, even
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For me, the lack of explanation is part of the success of the creatures; we are meant to draw upon what we know of zombies and the crisis affecting the TARDIS to supply their motivation. This was a story hoping to draw on the viewer's familiarity with television storytelling conventions, especially genre ones, but familiarity itself isn't necessarily enough.
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As for the console, maybe she let it beopened to allow the voices to "attack" the intruder?
Big Friendly Button: even the word "reset" was mentioned in or around that scene... Oh meta! :-)
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I've found this season (starting from Asylum of the Daleks) odd inasmuch as on paper many of the ideas have been good and the realization has also generally been of a high standard - and yet somehow only rarely has it gelled and really gripped me and I don't quite know why. I think I've admired episodes like The Angels Take Manhattan and The Bells of Saint John rather than being gripped emotionally. It's not 'the memory cheats' as the previous two Moffat seasons seemed much more emotionally involving to me, especially the 2011 season, which I seemed to enjoy more than anyone I knew.
It reminds me of season twelve, which is popular with fans, yet somehow even The Ark in Space and Genesis of the Daleks don't really do much for me, even ( ... )
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I've not been gripped by this series as much as I expected either - I've decided that I must be too close to it.
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