I just love this shot so much. It’s so intimate. The TARDIS really is a character on this show, who has her own behaviours and quirks and personality. And this is a scene between two characters who know and love each other in a way that’s just… slightly inhuman, but still so pure and obvious to any one watching.
A woman asking for forgiveness, a box saying “no need. I love you. Welcome home”, and not a single other thing in frame.
The TARDIS as a machine is great, but as a character is beautiful. “The Doctor’s Wife” is a great episode, but this gif is a perfect demonstration that you don’t need an actor to show her character and personality.
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I was doing crafty bullshit today and put on 13’s era as background noise, as you do
And I, on my 4th rewatch of s11 ep2, realized that they mention the timeless child- like that plot line was PLANNED and I think that actually makes ppl who hate it even weirder (I’m sorry I don’t understand the hate- like nothing/very little has been done with it!)
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that was. not bad actually. certainly better than e1 and we’re starting to see a series arc building . shame the “ghost” part of “ghost monument” was just about it fading in and out of phase with time rather than you know. the tardis as a haunted house
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Gotta share this...
I was looking up the transcript for "The Ghost Monument" for something and at the very beginning was this gem:
(The Doctor and her new companions have just appeared in the vacuum of space where - according to the Hitchhikers Guide to the Galaxy - they'll have less than thirty seconds to survive, unless they get picked up by a passing spaceship at a probability of 2 to the power of 267,701 to 1 against. Possibly much higher. So it is no surprise to anyone when a spaceship promptly drops out of hyperspace and grabs them.)
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Thoughts on the Vashta Nerada? In general I mean. I think they’re interesting. Though probably very hard to write for. In my mind (that hasn’t stopped Big Finish from trying, idk). What do you think?
If I wanted to write a story about living shadows accompanied by spooky people with skeleton faces, I'd just do another Faction Paradox!
In The Ghost Monument, there's a scene where the camera focuses on a normal-looking pool of water and the Doctor explains that it's full of "flesh-eating microbes, millions of them." This line may have ruined "microorganism swarm" villains for me permanently. Come to think of it, it's the same as midichlorians (The Phantom Menace's intracellular organisms which explain Force sensitivity). Something was undeniably lost when the Force stopped being – to abuse a term – ontologically simple: understood as a monolithic entity rather than something composed of parts. To give George Lucas some credit, I do believe that he would have redeemed midichlorians if the overwhelming fan backlash hadn't prevented him from elaborating further.
But I digress. In Silence and Forest, Moffat stops just short of "flesh-eating microbes". He's too much a poet for that. The Vashta Nerada are "microspores", an "infestation", a "the dust in sunbeams." He's combining ideas here, multiple angles for the old childhood terror / "familiar made uncanny" attack.* And – okay, he also says they're a "man-eating swarm". You can't win them all.
From a purely materialist perspective, a shadow isn't a thing in and of itself. It's the product of an object and a light source, and it cannot exist independently of either of those things. You might say that your shadow is "holding" something, but really that's just shorthand for "I am holding an object, so the shadow I have cast appears to be holding the shadow cast by the object in my hand." It's literally a trick of the light.
But in Peter Pan, shadows are objects in and of themselves. In that story they function not as they exist in material reality but as humans understand them: entities in their own right. Not a "light-object-patterns", a shadow. And in this lens, nothing stops them from existing separate from ourselves. This pivot from reality to the mind's understanding of reality – so to speak, from territory to map – is how ritual works across human societies, and it's what Faction Paradox is all about. In the territory, there were no days between 2 and 14 September 1752. In the map, there's enough to build an Empire.**
Even within the constaints he's built for himself, Moffat can't stop himself from having it both ways. On one hand, Vashta Nerada are allergic to light and hide in the shadows; on the other hand, they can actually encroach on the light and cast shadows themselves for spooky effect. The Doctor tells us, "Count the shadows" – a line straight out of Peter Pan. Or Interference.
*The FP series uses the same "familiar made uncanny" approach in the development of its mythology, but rather than the dust in sunbeams, its targets are the core elements of Doctor Who itself, and science fiction more generally.
**In fact, this is the only sense in which Faction Paradox can be said to be Faction Paradox. Lawrence Miles insisted that the Faction isn't interested in paradoxes at all; it chose the name Paradox not because of what paradoxes are in the territory but because of what the word means in the map: the opposite of the Great Houses' ideology of organized cause and effect.
Both of these bullets are actually the same point, and they're at the heart of what I tried to say in "Crimes Against History"…
***Apropos of nothing, a theory I'd forgotten I posted 6 years ago:
Or, since Faction Paradox may have been wiped from time at the end of the War, are the Vashta Nerada their now-person-less shadows?
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