Date: 2013-08-07 02:48 pm (UTC)
From: [identity profile] mmcirvin.livejournal.com
Their sins are different. A cold wind blows through Moffat's Who; when he tries to go up to 11, his plot devices become ingenious and intricate to the point of absurdity, the characters all turn into hard badasses and there's a cruelty to the proceedings. (I have a feeling that he's cast Capaldi because he feels Capaldi is suited for this, which might be a bad sign; I'd much prefer a lighter Doctor Who at this point, but I'm willing to wait and see.)

RTD's epic stories, on the other hand, were all about angst and sentiment magnified to a cosmic scale, with rickety plots constructed out of extended jokes, fourth-wall-leaning speeches about how much everyone loves the Doctor (admittedly Moffat has pulled one or two of those as well), and clap-for-Tinkerbell endings. I think it worked better with Christopher Eccleston than with David Tennant, because Eccleston was better at underplaying the sentiment just enough to keep it from getting to be too much; Tennant had no such inhibitions.

(Both RTD and Moffat, though, have a disturbing tendency to mistreat female characters. I'm not even sure Moffat is the worse one about it.)

Date: 2013-08-07 08:20 pm (UTC)
From: [identity profile] peter-erwin.livejournal.com
Both RTD and Moffat, though, have a disturbing tendency to mistreat female characters. I'm not even sure Moffat is the worse one about it.

Indeed. There's something a bit peculiar about how awful mothers can be in the RTD seasons, and about the only female characters I was halfway impressed with during the RTD years were the ones created by Moffat.

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