[NetBehaviour] The New Who vs Oldskool Timey-Wimey Whovians
netwurker at gmail.com
Sun Jan 5 10:00:01 CET 2014
On Sat, Jan 4, 2014 at 11:11 AM, Mark Hancock <mark.r.hancock at gmail.com>wrote:
> I'm yet to watch the new Sherlock. I've been 'kind of' off-grid(ish) for a
> few days.
No problem: I've been the exact opposite madly crafting "Wish4"...
I'm not sure that I'm going to be as enamoured of the new one as I was the
> previous episodes. But we'll see. Sometimes I'm just happy there's an
> alternative to X Factor and the like (more of which below).
> One thing I'm trying to explore more in my own [creative/fiction] writing
> this year is the idea of jeopardy for characters. What are they risking,
> what is at stake for them within the given options. And more importantly
> how do those decisions drive them on to either succeed or fail (with
...you had me at "with elegance". Looking forward to immersing myself in
whatever you create!
> I think that Breaking Bad did this very well, for those that watched it.
> Jeopardy has to mount and be layered, if you're going to create a narrative
> arc across a whole series or two. Jeopardy can be anything from falling in
> love to... deciding to fight the Daleks (Oh to fall in love with a Dalek!)
Now now, be careful what you wish 4...;)
> I recall an interview with Russell T Davies where he said that even X
> Factor and the like, had great narrative arcs and the directors/producers
> fully understood how to create that gripping drama in each fractal of each
> episode. This started with each performance, covered the whole episode and
> then of course built across the whole series. There are good guys and bad
> guys. Heroes we love and heroes we hate. I always regard these shows with
> respect since seeing that interview. There's a lot to be learnt from them
> (I hope this doesn't come across as ironic, I really mean it).
Fair enough. Personally I can't stomach reality teev in most forms, but
understand what you mean here.
> To me, this is one of the things that differentiates the two showrunners
> from each other. I'm not sure Moffat really believes that bad guys are all
> that bad (I bet he's mates with Simon Cowell (I knew i'd get ironic
> eventually)). And he probably believes that everyone should be a winner in
> the end.
I'm not sure just how he conceptualises the Good---Evil Spectrum, or even
if he see these ideas in a spectrum format at all...
> Not that I've been thinking about all this or anything....
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