poelemics:

harry potter spin-off tv series meme (003/?)

the witches of camden town | no one ever said magic made being a twenty-something any easier. there’s still bills to pay, relationships to fuck up, calls from parents to ignore, the concept of what you’re generally doing with your life to figure out. the residents of 28a hawley crescent know a lot about that last one. for cho (fan), it’s commiting to a relationship after years of running from the pain that she intimately knows comes with it. for lavender (olsen), it’s learning to trust her art rather than the dream of a fairytale prince to pay for wolfsbane every month. for parvati (pinto), it’s finding the courage to quit a soul-destroying ministry job and pursue an impossible dream she’s carried since childhood.

make me choose

insynchlikeharmony asked: amy/rose or sansa/margaery

make me choose

imsirius asked: sarah manning or alison hendrix
anyone can be killed

asian:

Go home bus you’re drunk

charamei:

There’s a post going around that begins: ”one of the things about Moffat is he’s not a particularly brave writer, is he?’

actions have no consequences, nobody dies in a way that’s not gently in their beds unless they come back two minutes later, the Doctor himself can’t get his hands dirty and commit genocide because think of the children.

I’ve been hemming and hawing about adding this comment to it, because it’s only half relevant. So here’s my half solution…

I feel like it’s because Moffat started his career writing sitcoms.

That’s not intended as an insult or an attack. Writing sitcoms is hard. Turning out something like Fawlty Towers or Dad’s Army… whoa. I couldn’t do it.

But it does require a rather different skillset to sci-fi drama, doesn’t it?

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fuckyeahdiomedes:

alchemyswimpotato:

burntlikethesun:

shinyopals:

one of the things about Moffat is he’s not a particularly brave writer, is he?

actions have no consequences, nobody dies in a way that’s not gently in their beds unless they come back two minutes later, the Doctor himself can’t get his hands dirty and commit genocide because think of the children

Moffat wants big, emotional moments and plots, but he’s afraid to commit the Doctor or the companion to real reactions or emotional fallout. Everyone just bounces back in an episode or two. The constant overuse of timeloops removes half the risk from the situation and ensures the Doctor never has to make difficult choices because he’s reading off a script.

There’s barely even write a proper goodbye for a recurring character called River because she dies in her first episode then is a ghost or something(?). And the preference for romance with one-offs doesn’t help - no need for emotional vulnerability when the Doctor only spends 10 minutes screen time with whoever’s into him this week (and he will have forgotten her by next week). The writing skips from scene to scene (particularly between seasons) because the alternative would mean actually putting some work into his job and writing them out of a corner.

and the non-destruction of Gallifrey just seems like more of the same. Heaven forbid the Doctor make the choice to kill his own people because they’re trying to explode the universes. No, that’s upsetting and hard to deal withand doesn’t have a simple one-episode resolution. easier to just wish it away with magic.

I feel like if Moffat would grow a spine and commit the Doctor in particular to some actual emotions or consequences there might actually be something worth watching. maybe.

additionally, i think he’s a very… easily distracted writer.

things happen such as clara’s sacrifice which are genuinely interesting and compelling- 

RIVER: But they won’t be you. The real you will die. 

we leave clara and eleven in the time stream, but then moffat gets distracted and forgets. the next episode begins years later with clara somehow.. not-dead, out of the timestream and teaching.

now whenever i rewatch NOTD, i’m just going to think ‘well, this doesn’t mean anything. clara can easily somehow just jump right back out when she’s finished. what’s all the fuss about’. there’s no consequences whatsoever, and the failure to deliver what was promised, not even acknowledging the fact that you said she would die, is breaking the contract you have with your audience. 

why did it go silent in venice? who the fuck knows. how/why did the TARDIS blow up in S5? pffff idk don’t ask me.

when you rely on mysteries so heavily in your writing, you have to SOLVE those mysteries otherwise you just leave your audience unsatisfied and grumpy. you can’t just move on and hope people forget because you can’t be arsed to remember what you have and haven’t explained.

He’s also so immensely insecure that he’s chosen to ignore all criticism completely, and to me that’s the worst thing of all. He simply isn’t interested in listening.

Honestly, I feel like he’s so intent on making his mark on the series, that he just doesn’t give a rat’s ass about anyone or anything that came before. He just has to make things all about him. Like that thing with River saying that the TARDIS noise is because the Doctor leaves the parking brake on, when in fact every TARDIS in Classic Who made that same sound.

So yeah, he’s leaving his mark on the series, in the same way a dog pisses to mark its territory.

gallifreyburning:

Is this long? idk, it feels long. Maybe because I only do meta-y posts once in a blue moon. So yeah. Doctor Who Meta-y … navel-gazing … under the cut.

Not Moffat friendly, as per usual. Don’t click if you’re not into that sort of thing.

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“If you think this has a happy ending, you haven’t been paying attention.”

 #s o b  #tv: got

bahtmun:

Of course it is happening inside your head, Harry, but why on earth should that mean that it is not real?