Originally Posted by
poppycod:
“Ok, sorry. I shall try to be more clear.
I have had a couple of reads thru the long review thread. Over 40 pages - so it takes some reading.
I tried to correlate the very critical posts to see if there was a general feeling of discontent about the direction of Dr Who.
It 'appears' that there is some friction between the strong, vocal group of staunch RTD followers and those who are now lavishly heaping praise on Moffat and his tenure.
I discerned two groups (which I alluded to in an earlier post) of strong critics.
I am just trying to figure out if the strong criticism is coming from just a small sub-section of fandom - ie the RTD followers who wish he was still in charge.
Is there some resentment that Moffat is now in charge?
Could there be some jealousy that the new guy is getting all the plaudits?
Could there be ulterior motives in some of the criticisms?
I am not trying to upset the applecart here, but I am just raising the questions.
”
The actual questions should be:
Why is it important to find a pattern?
Why is it that you would think there was pattern?
Why is that when you criticised anything RTD did it was geniune criticism, for example you not being able to forgive what he did to Doctor Who, whatever that was, but yet if others do the same in regards to Moff then there must be an agenda....why?
The only answer that comes to my mind is this saying by William M. Thackeray
"The world is a looking glass and gives back to every man the reflection of his own face."
Sums this thread up I'd say!
Originally Posted by tingramretro:
“I don't think there's a broad sense of discontent at all-overall, the reaction to the new setup seems to have been overwhelmingly positive except from a comparative handful of individuals who just don't seem to get it. I don't think that's because they're biased against one writer or resenting the departure of another, I just think Moffat is writing for a more sci-fi literate audience and requiring the viewer to pay closer attention to the details of the plot than Davies, who was possibly writing for a more general audience. Moffaat is expecting the audience to do some of the work, that's all. I personally think this approach works far better, but I'd guess that some of the more casual viewers who don't follow the plot that closely because they're just looking for a bit of light early evening entertainment will be dissatisfied and switch off. That's their loss, though.
If you tell me what it was you didn't understand, I'll be happy to give it a shot.
Excuse me, I haven't suggested anything of the kind. I defy you to find anywhere that I have. And why do you keep putting my name in quotes? I'd really like to know what you're implying.”
Patronising much??? And that goes for all the posters who have said that too!
This leads to two things again. That if the Beast Below has become an example of how intelligent the work of Moff is for us low common thinkers....because Moff qwrites intelligent work leaves only two option when looking at the reception of his previous work. Either the likes of
Blink,
GITF,
TDD,
TEC,
SITL,
FOTD and
TEH were the actual dumb down scripts....because they didn't have that many people say it was too confusing or boring, and certainly didn't have the amount of people voting less than very good and average as TBB has....in fact it's the first Moff script to have an almost close differences between the Very Good, Good and Average results. Or TBB is the low brainless stuff compared to what has gone before....
It can only be one or the other if we went on the idea that Moff's script is too intelligent for some people.
If I were to give my opinion, I'd say after TEC and TDD, TBB is definitely Moff's best. But I wouldn't call it really that of a clever and intelligent script, I am not a big fan of the other ones, and yet I am happy to admit that they are truly very clever, and tightly plotted compared to this. For me TBB is very much in style of RTD's work...the thoughful side of it, the plot being about the characters, and not about getting from A to B or some celever little mystery to be solved. I could also argue that the likes of Love and Monsters Boom Town and Midnight are very thougt-provoking stories that don't hand answers on the plate and explain every little detail (which funnily enough Blink, TGITF and the Libraray story do, even if they don't really mean anything in the end ie timey wimey)...in fact RTD doesn't like to explian every detail, he feels the viewers don't need everything being told, for example the whole timey wimey thing was used by RTD in New Earth in terms of Cassandra, but the explianation wasn't rammed down our throats, as it wasin a way (even if in a fun way) in Blink. So technically I could argue they are the intelligent plots that go over the head of many. But no....the answer is simple, it boils down to the individual on whether they liked what they saw or they didn't....they wanted more exaplination or they didn't. Nothing to do with "some people" not being able to handle Moff's Scripts, again unless you want to argue that Blink is actually well known for pleasing the masses because it is dumbed down?
I can see why people would be confused by some of the things that were in TBB, for example, no matter what sopme people say the Smilers were underused, and not the purpose that they were being made out to at the beginning of the story...reall menacing law enforces, who seemed to have a life of their own, for example producing three types of faces. Really they were put there for one reason only, to scare the children with the faces....That child at the beginnning could have easily ended up "below" without the need of the smiler there, he went into the lift, he broke the law....and on top of that the whale didn't eat children, but if they were doing it to create a fear, then why have a forget button on the overflow pipe? If in the end all the children did was carry on working in the Tower?The smiler and the littel girl's poem were nothing but an atmosphere creator, as I have got used to this type of stuff in Moff's stories...it doesn't spoil the enjoyment of the over all story. And some of the so called dates and stuff that people are feeling lost on, is because Matt spoke really fast, it was something that I caught on my repeat vieweing with subtitles. And the other scene with Amy and the recording, the confusion comes about, not because of the writing, but of the way they tried to "cleverly" shoot it....again it was about creating mystery...but really leaving some people confused, because they way Amy turned off that recording was as if she remebered why she had recorded it, becaus ethere was nothing in the recording that said Amy must not show this to the Doctor? If anything the moment she forgot, and the recording started playing, she would have been so bemused by it, that as the Doctor enterd, she would want him to see it, after all she told everything else ie she has no idea why she pressed the forget button. So there were lots of plot holes, and cofusing styles....
I still loved it though....and anyone who didn't are entitled to not like it for what ever reason....there doesn't need to be an agenda, only because some non-fans of RTD did
Originally Posted by Adam Kelleher:
“I loved Love & Monsters too and have never understood the vitriol against it. Seems to be if the Doctor isn't the star of the show then it's not worth watching for some people (although I guess Blink disproves that theory to some extent!). I especially liked the way we saw events that had already happened in other episodes from an ordinary person's point of view.
As for Fear Her, it just seemed average at the time, I haven't watched it since, but surprised it came in the bottom 10 of DWMs 200 poll.”
I love Love and Monsters...and pretty much like Fear Her...the Latter loses out from being very brilliant for me due to it's execution and not very good supporting cast.