artisanal film reviews | by maryann johanson
Sat Jan 23 2016, 05:53pm | 19 comments
Like I said on Facebook, I hope Chibnall is good, but if he’s bad, at least he’ll be bad in a new way and we’ll have something to talk about. The complaints against Moffat are well-documented at this point.
My biggest beef is that they’re only going to have one episode this year. These delays are ridiculous. Was it this bad under Davies (I didn’t start watching until after he’d already left)?
Chris “Cyberwoman”, “Countrycide”, “42” Chibnall. I’m not optimistic; but that’s mostly a guard against being disappointed yet again. The only surprises I’ll have will be pleasant ones.
Chibnall did brilliant work on Broadchurch, but that’s not saying much, it being such a different thing…
No, the seasons were regular under Davies. But he wasn’t also running another popular show at the same time. Ah, no, wait a minute, he was: *Torchwood.*
For he ain’t a jolly good writer… (3X)
Why don’t they do what they did with X-Men and wait a few years before “re-booting” the show?
Because it’s making way too much money for the BBC. It’s a huge hit globally. No way they’re turning off this money spout anytime soon.
I personally loved Camelot… but all the articles I’ve read about the changeover so far have had that mentioned and followed by ‘yeah, and we’ve never seen it either’ which I find kinda sad. That’s the one that’s giving me the most hope for him as a new writer.
well, considering that we aren’t even getting another episode at all until 12/2016; and then only one in 2017 from what i read, it may very well turn out as a re-boot. jeez! they may not have turned off the moneyspout, but they sure have slowed it to a trickle. that’s how people lose interest. (i.e., Lost, Heroes, etc…)
There was a gap over 2009 with only two specials from one Christmas to the next. The trick is that, while Who brings in a lot of money, it’s also very expensive to make, and BBC accounting is very strange at times.
In the UK we’re more used to shows taking breaks, I think, since we don’t have regular TV seasons.
Licensing for all those toys? Isn’t that included?
BBC Worldwide makes that money; it’s a subsidary of the BBC, but as I say the accounting is strange.
There’s probably several different factors in this decision.
1) Peter Capaldi has begun talking about how difficult the production schedule is on him.
2) Both Moffat and Chibnall have different shows to run. Both of those shows are more popular and important than Torchwood and SJA ever were.
3) Saving money for next year, maybe a new TARDIS and stuff for Chibnall’s upcoming arrival?
4) The ratings have fallen(even if it shouldn’t matter as much as it does), so maybe the BBC wants Moffat to slow down and rework the show. Sort of like a less mean-spirited version of the 1986 hiatus.
Plus, the show did have a big transitional pause in 2009. But it seemed to be in a better position with more money then, hence why they could do the specials.
Yes, it was the mid 1980s when the BBC started caring about ratings in a big way, and they have never really recovered.
If fans are disappointed enough with the new episodes, they may start making their own–along the lines of the Doctor Puppet cartoons or Star Trek Continues–possibly with a female Doctor.
What was wrong with 42?
I found it frankly dull, derivative and contrived. Oh, how are we going to stop him using the TARDIS this week? How are we going to split up Martha and the Doctor? The plot strings are showing.
“42,” IMO, is wildly underrated as a critique of 24’s pro-torture stance. Borrowing 24’s ‘countdown clock in real-time’ format (tweaking it so 24 become 42, hours become minutes) and setting up the story so the Doctor knows the captain of the ship is hiding something from him, but having pursue a solution without torture, or the threat of torture, to make him tell her the truth was a deft touch. I found it neither dull, nor any more contrived than any other episode where the Doctor was separated from TARDIS and/or companion. Derivative, sure, but I think in service of a righteous inversion of the values of that which we could call it derivative of.
That all said, I seem to be the only person who loved this about “42.” Credit him with the casting, and therefore the strong performances from Tennant and Olivia Colman — my new Next Doctor! choice, btw– in Broadchurch S1 and there’s a slight case to be made that his run could be something to look forward to. Broadchurch S2 did nothing for me, I stopped watching, bored to death. The less said about his Torchwood stuff, the better. Also haven’t seen Camelot, but until this post I hadn’t read a single comment in its defense, though I had some rather discouraging disparagement from folks whose opinions I’ve found reliable.
I recommend putting on Dinosaurs On A Spaceship to quell your fears. Just saw it again and damn, it was fun. 42 and the Silurian two-parter were both thoughtful and well-written. Going to see the Power of Three tomorrow!
I have high hopes for Chibnall to return to the lowkey, write-a-nice-story Terrance Dicks sensibility.
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