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[rynne]

Complete fail, Amazon. COMPLETE FAIL.

In other news, I watched Planet of the Dead again, with heart_of_man.

Comments

[butterfly]

This is actually a subject that I've been thinking of talking about, too, and, you know, for me there is a big difference between doing something occasionally, to change things up a bit, and doing something all the time.

But I've actually found (since JE, mostly) that I appear to be in an odd weird corner of Who-fandom, because I love Doctor/Rose a lot but am okay with the Doctor having sparks with other women (but I also, like you, see romance and sparks as different things: the Doctor had sparky chemistry with Christina, but he was never going to do anything romantic (from his perspective) with her. His reaction to the kiss (telling her to get behind the dividing line) was clear enough in that regard, I think

[uliczka]

IAWTC so much it hurts.

[shinyopals]

I got very much the same thing as you did from his compliments and squeeing. It's what he does, after all. I think there might also have been an element of him knowing that he wasn't going to let her come with him, so he was sort of free to not think too hard about stuff

[thehornedgod]

*wanders in via the_spdn*

It was very Moffatesque, wasn't it? You mention the focus on the sparks-will-fly! girl of the week over the ensemble, and the menace that's just following its nature rather than malicious. Those are indeed both Moffat signatures and both present and correct in Planet of the Dead, but I've got two more. One, Christina's characterisation is much more like a Moffat heroine than an RTD one: she's posh and peremptory, which is what a man like Moffat comes up with if the brief is "snarky and self-possessed". Two, hardly anybody died. It's not quite everybody lives, but all the humans except the bus driver make it off the planet of the dead alive. It references Midnight, itself an even darker variation on Voyage and tells a Moffatier story in which the passengers are whisked to safety.

So are the shades of Moffat the result of Gareth Roberts co-writing, do you think, is Christina his attempt to do a twenty-first century Romana? Or is Russell showing that whatever Moffat can do, he can do better, much better?

[goldy_dollar]

Hee. Clearly I should have read this post first. XD