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Just watched this on iplayer!

Astonishingly, I loved it. Oh, it had its problems, but no TBO. It made sense on its own terms, and it was exciting. I can see what attracted the Moff to Matt Smith, and I loved the echoes of earlier doctors.
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Who are you, and what have you done with the real Lil? *g*

Oh, I can change my mind when a series changes direction. It's too early to say whether it will continue to charm me, though, and I am not looking forward to the Chibnall episodes (though there is Gaiman early next season and that I do look forward to.)

Young Smith grew on me very quickly, I must admit, though I shall miss Tennant. The rest of the series looks like it's going to be good fun.

I won't miss Tennant, who I disliked. I did miss Eccleston... not as much as I missed Hartnell or Davidson, mind.

This makes me feel good about the world! Saturday's episode looks promising, and we might see whether the new team have a different idea of how to present future societies than RTD did.

One doesn't know how things will turn out, but this is the best opener to a Who for a long, long time. I need to see this again and think about it, but the pacing was so good, and Smith is, unlike far too many doctors, very, very dangerous. Somehow, even when being silly, he isn't really. I like that.

It was such a nice change to see the doctor actually saving the day - which, for all Tennant's gurning, his doctor really didn't. IMHO, of course.

Yes, this.

I rather liked his confidence and the danger about him.

The difference between Rusty and the Moff is that while both are disgustingly talented, Rusty depends on that natural talent at writing whille the Moff relies on skill. RTD is a "first draft writer" (Chris Bidmead's words). He lets things go up to the wire, writes in a fury and panic then pretty much lets it stand - and is good enough, particularly at interpersonal stuff, to get away with it. Moffat has mastered the skills needed to *work* at a script to improve it. He also understands the need to structure a genre story properly whereas RTD is more comfortable with the open ended formats of character/emotion driven drama.

And, yeah, I kept seeing Patrick Troughton - and not just in the clothes!

My problem with Rusty is that he does not care about making his plots logical even on the surface. He just assumes that the more he stuff he piles on, the less we'll notice how ridiculous it is.

Furthermore, there are problems with his characterisation, in that, quite often action does not spring from character, but what Langford called the "giant authorial thumb" is called into play.

It reminded me of Tom's Secret Garden (parrot_knightbeat me to saying this) and Moondial. I, too, loved it.

It won't be Hugo-nominated, but it was a work-horse, to haul us from here to there, and not a race-horse to win prizes.

There were just a couple of points where I felt that something was less-than-perfect: some small scenes which were perhaps unnecessary, perhaps underdeveloped (by which I mean that we were shown things that I don't think we needed to see - the passage through the doorway stuff, but it's always possible to show that the door is made of apple-wood).

There were a number of jobs it had to do, and it did them all (just about.) I have a post about this drafted, and should get it up this afternoon. I am surprised by how much I enjoyed it, given those workhorse jobs and the - I am sure deliberate - repetition of earler NuWho themes. (It would need someone with the DVDs for the episodes I do not have - which is most of the Tennant era - to compare those critical sequences line by line and the actor's delivery in both cases to check if there is any subversion.)

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