This one is 9/10 .
The audience was getting set up for the Death of either Amy or Rory.
We also knew Stone Angels were invovle.
River is back.
Major twists and turn.
The Angles invade 1938 Manhattan.
And the Doctor is reading a novel that turns out to
be a River Song Biography.
Modern Manhattan 1938 Manhattan.
Angels are not friendly.
Also the Doctor hates endings. Big time clue!!!
Who likes an Angel clutching River Song's wrist .
She get s her 'husband' involved.
1) Who expected Rory and Amy dropping off Winter Quay would defeat
most of the Angles?
2) Who expected a surviving Angel to send Amy and Rory back in time?
3) Who would expect River Song to cheer the Doctor up in the end.
Moffat I see that Rory and Amy can return
from 1888 to 1938 so one will have to wait.
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On Mon, 01 Oct 2012 18:34:38 -0400, <[email protected]> <[email protected]> wrote:
> 3/10 at best
> The script was amateur to say the least - seriously schitzo and
> pointless all over the place - in urgent need of a half decent script
> editor guys
> The weeping angels have been done to death (as have daleks and cybermen)
> (Total lack of creativity now becoming a bit obvious - I could suggest
> some reading... Try Cliff Simak or Silverberg... )
I think some of the sameyness is due to the format of production.
The show-runner aspect necessarily leads to some homogeneity.
The alternative (as in the original series) of producer / script editor /
multiple writers often seemed to provide more creative tension.
Andy Leighton => [email protected]
"The Lord is my shepherd, but we still lost the sheep dog trials"
- Robert Rankin, _They Came And Ate Us_
3/10 at best
The script was amateur to say the least - seriously schitzo and
pointless all over the place - in urgent need of a half decent script
The weeping angels have been done to death (as have daleks and cybermen)
(Total lack of creativity now becoming a bit obvious - I could suggest
some reading... Try Cliff Simak or Silverberg... )
Most people probably wouldn't notice how bad it was because of the
overpowering volume of the soundtrack creating a blip-vert effect
(for those that know what that is)
The film noire opening was over egged and a bit tacky - a genuine
american with a genuine accent might have calmed it down but why it
was even there in the first place I can't fathom.
The direction was good - the acting great (as always it seems)
The sets and effects as good as who has ever been -
And the finale was a mark of the writers brilliance bursting through at
the last moment - (and he IS that good some of the time - which is why
this is so dissapointing)
Luckily there is xmas and next year to look forward to.
And jenna-louise - oh my - I've been in love for so long already
and now this..... as much as I hate net cliche's .... jenna ....sigh!
In article <[email protected]>, [email protected]
> I think some of the sameyness is due to the format of production.
I'm sure you're right. But that isn't necessarily a bad thing I don't
> The show-runner aspect necessarily leads to some homogeneity.
> The alternative (as in the original series) of producer / script >
> multiple writers often seemed to provide more creative tension.
Watering a vision down is seldom a good idea but giving the writer more
of a break somehow may be a way forward. The problem I suspect would be
finding writers capable of writing what is a difficult genre to get
right. I expect TV companies don't understand how much work is involved
when a writer is sitting motionless staring into space.
Whatever - we've all been treated to a remarkably consistantly well
produced series for a number of years now. I don't think I've seen that
anywhere other than with US imports.
I think its just worth sounding an alarm bell now and again though.
Over-hyping is a dangerous activity...