never actually seen a Peter Capaldi "Doctor Who" yet, so we're watching the only one of his episodes that I know anything about: "Heaven Sent", where the Twelfth Doctor trapped in a Dark Souls map or something like that ~Chara
- they/them
plural system in Seattle, WA (b. 1974)
lots of fictives from lots of media, some horses, some dragons, I dunno. the Pnictogen Wing is poorly mapped.
host: Mx. Kris Dreemurr (they/them)
chief messenger and usual front: Mx. Chara or Χαρά (they/them)
other members:
Mx. Frisk, historian (they/them)
Monophylos Fortikos, unicorn (he/him)
Kel the Purple, smol derg (xe/xem)
Pim the Dragon, Kel's sister (she/her)
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in reply to @pnictogen-wing's post:
it's a excellent episode. it might be somewhat less powerful without having seen the relationship between him and Clara.
I don't doubt it. I've been watching a lot of unfamiliar Doctor Who totally out of order recently, and it's frustrating knowing so little context, but we feel like we're in some sort of hurry... mainly I want to see an explanation for the one clip that caught my eye a while back (that massively parallel climactic scene ~Chara)
Others have said it but DW thrives in bottle episodes bc when it's just the actor trapped in an unchanging setting the writing has to be that much stronger to make up for it. This could really be seen as a budget-saving episode - they just go to one of the million old castles in Scotland or something and film Peter Capaldi walking around and talking to himself. A couple CGI assisted spooks and you're good and get to have all that extra money to put towards the Super Epic Explosive Finale™.
But it really is probably among Moffat's strongest scripts. Harkens back to his best single-story writing under Davies. And Murray Gold's music helps a lot too.
that is a great point about the budget - but yeah, it is such a powerful script