Friday, 29 December 2017

Twice Upon a Time written by Steven Moffat and directed by Rachel Talalay


This story in a nutshell: Doctor Who holds off his regeneration in order to fill a Christmas Day slot in the schedule…

Indefinable: Peter Capaldi, the true survivor of the Steven Moffat. He’s survived Doctor Grumpy (‘Am I good man?’), Doctor Who Disco (‘Am I cool man?’) and Doctor Lecturer (‘Am I good Doctor?’), three completely different takes on the same character that might as well be different incarnations for all they have in common with one another. He’s survived sonic sunglasses, becoming the President of the Earth, electric guitars, moon eggs, irritating children, tedious found footage, and love conquers all again and again and again. He’s walked through this battlefield of madness, indulgence and continuity and walked out with his head held high. It’s no mean feat because some of the hoops that Capaldi has been asked to jump through would destroy other actors but he’s so determined to make a success of this role and is so talented himself that he has managed to hold onto his dignity and unearthed terrific nuggets of gold in an era that can, at best, be described as ‘diverting but uneven.’ And here in his final hour he is asked not to stretch his acting muscles at all (or certainly not in the way that he was during the few moments when he was really pushed out of his comfort zone: Heaven Sent, The Zygon Inversion) but to walk a line between embarrassment for the (misplaced) sexism of his former self, having to explain continuity points from three series back and mawkishly saying goodbye to all of his friends and finally letting go of himself in a speech so drained of meaning that I literally wanted to jump in the screen and give him a shove to bring forth Whittaker. The Doctor Falls was a much more impressive finale for the character and the actor, I genuinely feel sorry that he has to twiddle his thumbs for an hour to wait for the Time Lady to arrive. The moment when the twelfth Doctor puts sunglasses on the first in the TARDIS and says ‘I love it’ I realised it was time for Capaldi to go. He’s so far above this kind of material. This is the actor that Russell T Davies had shoot his wife and children in the climax of an alien invasion and now he is reduced to this kind of cheap frivolity. The one note of originality for him was his reaction to this not being an evil plan. The Doctor simply does not know what to do when there is no-one to fight.

Hmm: I want to give David Bradley a shake of the hand for attempting to take on such a brave part, one that was bound to be lambasted by Doctor Who fans no matter what direction he chose to take it. I’ve heard it all; he talks like a drunk robot, he clutches his lapels too much, he has no relevance to the story, he lacks that twinkle in the eye. Balderdash! Bradley isn’t playing William Hartnell playing the first Doctor this time, he is playing an interpretation of the character and I would say he has all the emphasis of the original incarnation – stern, twinkly, assured and full of bluff. For me, he was the major reason for sitting through the hour. The Doctor is very confused when his future self declares that the Earth is protected. He used to be a little subtler than that. And declares the inside of Capaldi’s TARDIS hideous, although to be fair that original model is the dream design. He looks quite haunted when the promise of a conversation with Susan fails to materialise. The twelfth Doctor giving the first Doctor the idea of a sonic screwdriver and just a few years before he creates one is cute. I like how the story points out how sharp the first Doctor is, just with his eyes and not with gadgets. He gets a disturbing peek into his personal future and cannot begin to imagine how he could get such a ridiculous reputation in the universe. I’m surprised he was happy to walk on into that busy, noisy, melodramatic future. I would have run away screaming. The first Doctor is afraid to regenerate, the sort of confession he wouldn’t usually admit to anybody. It’s something that has been questioned by critics but I think it is a perfectly valid response to a terrifying first in a lifetime regeneration that is about to occur. I adored the scene between him and Bill where they discuss why he left Gallifrey and the difference he can make in the universe. Not so much for the dialogue, but the stunning performances. Moffat needs to know how lucky he is having actors this talented speaking his retconning dialogue. 

Oh Brilliant: I’m trying to think how I felt during those little vignettes when each new Doctor was revealed before the credits rolled. I thought Tennant was a total goon, and he wound up being my favourite. I thought Matt Smith had great energy but looked bloody weird, and he wound up being my least favourite. I thought Capaldi was talking some real shite but had a playful score and Clara’s reaction was beautiful and promised great things, and he fulfilled his potential in some ways and missed the mark by a mile in others. Whitaker, the first female Doctor, is simply majestic from the outset. Her eyes give a performance of their own and then it’s straight into high energy action as the TARDIS decides no thank you very much. An intriguing development. What is my opinion of a female Doctor Who? Absolutely fucking fantastic. She’s a terrific actress and the series desperately needs this kick up the arse creatively. Whatever the standard of writing is, there is going to be a brand-new energy to the next series that is going to make it the first must watch season since series five. 

Sparkling Dialogue:

‘To be fair they cut out all the jokes.’
‘If I hear any more language like that from you, young lady, you’re in for a jolly good smacked bottom!’

The Good
· How to introduce David Bradley as the first Doctor without it seeming as though they are shitting all over continuity and shoehorning him into a story that technically should never have taken place? Create a mouth watering pre-titles sequence which lifts the most exciting moments of The Tenth Planet, gets fanboys creaming their knickers (myself included) and then seamlessly blend the old footage with freshly shot material. It’s a shame that they should have wasted Hartnell’s melding into Bradley on the trailer so as to spoil the surprise but in all honesty, it was the one thing about the trailer that truly got me excited for the episode. It’s an arresting opening, even if the recast Ben looks nothing like Michael Craze and the recast Polly is clearly wearing a dolly bird wig. I was more geared up for the special than ever a few seconds in…
· Capaldi’s hair deserves recognition of its own. He’s managed to out-bouffant both Barbara and Pertwee. It’s magnificent.
· One of the things I have noted about Rachel Talalay’s often spectacular direction for Doctor Who (for me the standout of the era) is that the production values step up a notch from their already very agreeable standards. Take a look at The Magician’s Apprentice or Heaven Sent again, this woman knows how to make the show veer towards cinematic. Oddly there were moments in Twice Upon a Time where the show literally seemed to be aping a sixties adventures with much of the story taking place either on the TARDIS or what is clearly a studio based alien planet. However, when the story reaches Ypres in 1914 Talalay really gets the chance to flaunt her stuff. It looks as authentic as I could imagine and there are some beautiful touches; the crow and the explosion that are caught mid-air when time freezes and the snow over the battlefield. Shooting through the clouds in an Ariel shot has become a signature move on Talalay’s part and it always looks impressive.
· The original console room is a beautifully recreated here as it was in Adventure in Space and Time and Hell Bent. It’s simply glorious, and I would make an argument for it being featured permanently if I didn’t already know it was too retro for a modern audience. All the scenes featured inside the first Doctor’s TARDIS simply made my heart sing. It even features the astral map.
· I rather liked the sets for the Villengard sequences, even if they clearly sets in a way that very few NuWho alien landscapes are. There is a nightmarish quality to them, especially with all those Dalek mutants scuttling about.
· Whereas The Empress of Mars felt like an opportunity for Mark Gatiss to exploit his friendship with Steven Moffat one last time with a thoroughly indulgent script, his star turn in this episode feels far less incestuous because the performance is so good. Maybe this role was written for Gatiss, but it plays to his strengths as an actor and it gives the piece real heart. Whilst it is another kiss to the past (and it isn’t as though Moffat hasn’t meddled with the Lethbridge-Stewart legacy enough, what with dragging him out of the grave and turning him into a Cyberman), his identity is one of the subtler elements of continuity and it is very believable that the Brigadier could spring from this lineage. Gatiss gives a thoughtful, credible turn at the eleventh hour playing a character in an uncommon situation.
· The two TARDISes side by side. The cutest thing ever.
· The 1914 Armistice is a moment in human history to be proud of and celebrated, a moment when men at war put down their arms and aside their differences and celebrated Christmas together. It’s refreshing to see Doctor Who shying away from it’s usual technique of explaining away important historical events through alien or Time Lord intervention. For once, the sentiment of the moment is worth celebrating alone. They could have just used footage from the Sainsburys advert.
· Unlike the Capaldi regeneration, the Bradley regeneration feels like the centrepiece of the finale. Talalay shoots this with absolute precision and the material feels as though it has been lifted from the original and colourised. Just beautifully done.
· It’s all an illusion build from memories but the few moments the Doctor, Bill and Nardole are together brought back the best of series 10. It was a strong reminder that there was a refreshing taste to Capaldi’s last season, the one where Moffat got the regulars right.
· Hurrah for the musical cues from The End of Time, Heaven Sent, The Husbands of River Song and Rose. The best of Murray Gold, shall we say. Was there any original music in this episode at all?

The Bad:
· Sharing his finale with the first Doctor robs the twelfth of the limelight in his finale. There, I said it. I might have mentioned it elsewhere in this review but Capaldi’s Doctor had a much better showing in The Doctor Falls (a story that seemed designed to push the actor and the character). This feels…anti-climactic. The focus is far more on what Bradley will do with a role five decades old than Capaldi going through the same old tired tricks.
· Two Doctors meeting smacks of a gimmick. Two Doctors meeting at the point where they are supposed to regenerate moves beyond gimmickry into wankery. And for an era that has redefined gimmickry and wankery for a whole new generation of Doctor Who fans this is perhaps the ultimate expression. It’s a clear sign of a show looking backwards, not forwards, a complaint I have levelled at the Capaldi era a little too often.
· Sexism was rife in the sixties, and An Adventure in Space and Time reflected that with painful honesty. However, thanks to the talents of Verity Lambert and William Hartnell that very rarely bled into the characterisation of the Doctor. Certainly not to the degree that is exhibited by Moffat’s script which seems to go all out to show how progressive the show is these days by highlighting how liberal minded the latest Doctor is. The irony being that Moffat who may just have featured the least appealing, most sexist interpretation of women in the shows entire run. I’ll let the smacked bottom line go by because it genuinely made me laugh out loud (and is lifted from a genuine Hartnell line) but all the wink wink nudge nudge the little women doing the dusting whilst I head off and have an adventure stuff is jarringly misplaced. It’s not even remotely accurate and the only defect in Bradley’s otherwise star turn. It did provide the one moment where I thought Bill pointing out her sexuality really felt like it belonged (unlike some gratuitous scenes in series 10), just to shock this chauvinistic Doctor. All this down the throat progressiveness. It’s enough to make me want to enlist Terrance Dicks and strap someone to the circular saw or the railway tracks and force them to scream.
· Why promise a visit from Susan and fail to deliver?
· Having Bill feature as a construct of her memories channelled through an avatar is either and pleasing chance to spend more time with Pearl Mackie (of course) or another ridiculous attempt for Moffat to duck out of his decision to kill off a character and bring them back for a last hurrah (also true). In this case he’s already used his get-out clause with drippy Heather so this is his back up get out clause. It’s a cute idea which leads to Capaldi having the chance to say ta ta to his old companions on his death march but ultimately it is gutting The World Enough and Time of its shocks and twists. Thank goodness Capaldi didn’t stick around any longer, or we might have had a third get out clause for Bill to appear again. Maybe this time as a ghost. Or a photo that comes to life. Or a building that remembers the people that walks through it’s halls and makes them flesh.
· The Two Doctors poking fun at each other’s foibles is basically a re-run of the last time Moffat did this in Day of the Doctor. Except not as funny or particularly necessary or very clever.
· Just saying ‘an error in the timeline’ isn’t an adequate explanation for the events of this story. It’s a lazy one.
· I wondered if we would see Rusty again after his ambiguous departure in Into the Dalek. It would have made more sense to have brought him back in series 8 though, not three years later when everybody had long forgotten about him or his reappearance was greeted with a shrug of the shoulders and a ‘is that still relevant?’ It feels like Moffat had to fill up his running time with something and so he searched the last three years for a thread that was left dangling and tidied it up. It’s a massive step up from Time of the Doctor though, I suppose, which had to grapple all of the threads that were knotted and gnarled and hanging from the Eleventh Doctor’s era and attempt to sew them into some kind of conclusive narrative. This at least is simple, even if it is a little ‘so what?’
· ‘I know we have this whole professor/student thing going on…’ – will you stop being so damn self-referential! This is dialogue that isn’t even trying to rise above mediocrity but posing as being clever. It’s coming from a writer that used to be at the top of his game on this show but is now exhausted of wit.
· Forgive my language but why does every Doctor have to go out with a speech more fucking indulgent and lengthy than the last? I begin to see the merit in gunning the Doctor down (ala The TV Movie) and letting him gurn his way into his next life.

Result: An episode that ushers in a huge breath of fresh air for stuffy stale old Doctor Who, 12 years into it’s revival. A story mired in continuity and sentiment featuring two old men who are literally hanging around to die with nobody to fight anymore…it’s not exactly what the dynamic television that the family audience wants to watch in 2017, is it? Despite the tone of those opening words, I had a relatively positive time with Twice Upon a Time but like Time and the Rani kicking off season 24, this is exactly what the show doesn’t need to be doing right now. By bringing in a new female Doctor and potentially cutting her off from the TARDIS, Chris Chibnall is taking a defibrillator to an ailing series and pumping some expectation of life back into it. What I really enjoyed about this adventure was that it was actually a little different to anything that had come before, like an old fashioned sideways adventure from the Hartnell era (appropriately). Time freezes around our characters and it allows them the chance to interact in a drama-free zone for 60 minutes. There are no monsters (although both Testimony and Rusty are presented as such until the truth is revealed), there’s relatively little conflict (except for the promise of a jolly good smacked bottom if that language persists) and the story doesn’t even begin to gain momentum because there is no story. It is a narrative pause between The Doctor Falls and Whittaker’s debut and there is nothing here that couldn’t have been omitted had Capaldi regenerated in the previous tale as was the original intention. Who ever knew that Steven ‘everything but the kitchen sink’ Moffat (whose previous regeneration story was Time of the Doctor, for goodness sakes!) could hang dialogue on such a dearth of incident? Ah yes, what were those positives I was talking about? A sparkling turn from David Bradley, an intriguing new concept in Testimony, terrific production values, a worthwhile peek at a proud moment of history, a waltz around Murray Gold’s repertoire as he bows out and a general air of amiability throughout, helped along by actors who are clearly enjoying working together. And as I said for a man who trades in convoluted plots, the relative lack of complication makes this ideal post-Christmas dinner food coma fare. Anyone who was expecting a race to finish line for Capaldi and a dynamic new take on regeneration look elsewhere. You’ve just had that. This is the 60-minute sneeze that came afterwards, albeit with a few nice tickles. Twice Upon a Time shouldn’t exist and it feels that way. I want to say that it was Capaldi’s finest hour but he isn’t doing anything new here, it’s Bradley this story exists for and it’s for his valiant efforts that I award it an above average score. He’s simply a delight to watch, as I imagined he would be. As for the regeneration; it’s ponderous and preachy and by the end I wanted Capaldi gone just so he would stop self-aggrandising. Whittaker immediately offers hope for a cheeky future and the last two minutes elevate this even further. Why the hell did the TARDIS spit her out? Twice Upon a Time; I wanted to love it but I’ll have to settle for liking it and even then mostly for the acting: 7/10

18 comments:

TF80 said...

Bye to the Moffat era, I won't miss you as much I have missed the RTD era(which was MY era, the one in which I fell in love with the show, that made me discover Classic Doctor Who, then Big Finish and so, that made me cry of joy or sadness. Despite its many faults, a totally brilliant era). Moffat Who was full of itself, clever-clever, smug writting, vacuous (Clara) or totally awful(Amy) companions, one-liners and convoluted ploting with some moments of brilliance

The TARDIS spitting the new Doctor out it's gibing fuel to the naysayers to say "See, even the TARDIS doesn't want her". I'm on the fence on a female incarnation. I'm used to a male Doctor (and I'm a woman) and would have prefered to continue like that, and I sincerely hope they don't do the mistake of turning her into a stereotype or make her overly flirty or shallow. I would have been againts a female Doctor under Moffat. Let's see what Chibnall does with her.

GJH said...

Great review but I'm not sure I share your optimism about there being a breath of fresh air evident. Let's hope Thirteen is less narcissistic than her earlier Nu-Who incarnations. And let's also hope that the show gets writers who can actually plot an engaging story which doesn't centre on the Doctor and his relationship with his companions all the time.

Russell said...

I think Capaldi's era was one of the strongest of the show. It had great companions, some of the best episodes in the revival, three very good series (series 9 is the best since the show came back), and of course Capaldi's brilliant Doctor. There was a great arc beggining with him lost in his beliefs after the regeneration (Doctor Grumpy), and having those fights with Clara, who didn't accepted him at first, and then they became great friends (this is one of the most beatiful Doctor-companion relationships) and decided to have fun enjoying each other's company (Doctor Disco). And finally after his last encounter with River Song, he questioned himself again (Doctor Lecturer), and all he learned is shown in the speech to the Master and Missy in the Doctor Falls and in his last speech in Twice Upon a Time, he finally understood what it was to be the Doctor, there's a great character growth here. I think this three different takes are different stages of the story of this Doctor.

Capaldi was pushed out of his comfort zone in Listen, in The Witch's Familiar, in the Zygon two-parter, in Heaven Sent and Hell Bent, in Oxygen, in World Enough and Time/The Doctor Falls, so he had a lot of chances to show his talents (and he certainly did), and even in the more ordinary episodes he shone. And how many times Tennant was pushed out of his comfort zone? Or Tom Baker? In the majority of their episodes they weren't, but they are great Doctors and had great eras. I can't see the problem with the sunglasses and the guitar (Troughton played the recorder and he was great).

Finally, he had a lot of amazing episodes during his tenure. Listen, Mummy on the Orient Express, Flatline, Dark Water, Last Christmas, The Magician's Apprentice/The Witch's Familiar, The Zygon Invasion/The Zygon Inversion, Heaven Sent (in my opinion, the best episode in the history of Doctor Who), Hell Bent, Oxygen, Extremis, World Enough and Time/The Doctor Falls. This era had the best episodes since Tennant's, but the Tenth Doctor featured in more bad episodes than the Twelfth (I can only think of In the Forest of the Night, which is pretty bad).

Well, this was just me trying to defend who I think is the best Doctor of the revival, and had a very good and underrated tenure.

Unknown said...

Rachel Talalay didn't direct The Magicians Apprentice. Hettie Macdonald did.

Sinatra said...

I didn't like the sunglasses and guitar because it looked like trying too hard to be "hip" and "cool" (on the writers part, not Capaldi). The second Doctor's recorder didn't give that impression and it just was a quirk of that incarnation

I would love to have had Capaldi with other showrunner, he would have been great. Moffat's smug and childish plotting ruined it for me

Ed Azad said...

"They'll get it wrong without me..." What a gracious exit for our most humble of showrunners.

I'm afraid the Moffat era just wasn't for me.

Paul said...

Unmitigated shite. Capaldi deserved so much better and Moffat should have gone two or three years ago. The episode committed the unpardonable sin of being boring; in this it was a continuation of series ten from Extremis to World Enough and Time. As both Doctors were already regenerating and they were always going to regenerate there was no drama as there was no threat.

Only Jodie Whittaker saved this episode - it may well have been a reworking of the opening of The Eleventh Hour but the final scene was brilliant. Whittaker will be brilliant, we can only hope that Chris Chibnall rises above his current status as hack. I include Broadchurch in that assessment as it was three series of crudely written stuff, riven with generic cliches, plot holes and contrivances, and - certainly in the third series - crude politicking. Clearly it was meant to be a one series programme and logically it should have concluded with the solution proposed by Chibnall in Gracepoint.

Anonymous said...

I agree that the episode lacked real stakes but it was ravishimgbto look at and Bradley and Capaldi played off each other well. Pessrl Mackie reminded us of how wonderful Bill Potts was too.

I feel that while Whittaker has now successfully put her boots under the table, the real issue remains Chris Chibnall. For good or bad, both Davies and Moffat have CVs which show the variety of their writing and their capacity to be daring, even if not always successfully. Chibnall has nothing worthwhile to show. Some of the most formulaic and dull episodes in modern Who, the stink of failure from Camelot, truly dire episodes of Torchwood and three series of plodding exposition in the borefest/smugfest that was Broadchurch. Has any other recent television show in the UK ever been so uncritically reviewed and given such unwarranted praise? Apart from Olivia Colman's mousy detective, there is nothing in the writing which lifts it above Midsomer Murders. I would go so far to say that at least Murders has more ingenuity in its plotting and characterisation. He is an absolute hack and I do wonder how many actual talents turned down the showrunner role before the BBC were reluctantly stuck with hin. Given his track ecord, I only hope Jodie can do a Matt Smith or Peter Capaldi and elevate the writing. The future looks bleak but I hope Jodie Whittaker has at least a few episodes to show that there absolutely can be a brilliant female doctor before the tedium of Chibnall buries everything in blandness.

Anonymous said...

Ugh. I haven't seen Broadchurch but I've read good things about it :/ I'm not in love with Chibnall's Doctor Who episodes and half the fandom are't watching any more because of female Doctor. I just hope it isn't 1989 all over again >_<

Paul said...

The best description of the inexplicable career of Chris Chibnall that I have ever read.

Anonymous said...

I think the one positive you hear about Chibnall is that he "delivers". I guess the BBC are so keen to squeeze more juice out of Who that they are happy to priortise quantity over quality. I think this underestimates the intelligence and taste of the Who viewing public. Just having Who on the screen for 10 or whatever sequential episodes won't be enough if each episode is the kind of "by numbers" mediocrity which Chibnall always writes. Moffat and RTD could soar or plummet which was part of the excitement when anticipating their next episode. Chibnall never disappoints. Every single thing he has done is bland, bland, bland. So disappointed that he has been put in charge of our first female doctor and that Jodie will be blamed for the show's plummetimg ratings and those vociferously opposed to a female lead will claim to be vindicated when the fault will lie with the writing and vision.

Anon - Broadchurch series 1 is ok but not a patch on innumerable crime dramas like Unforgettable or Line of Duty and nowhere near as well acted and realised as other melodramas like Liar or Doctor Foster. The best things about it have nothing to do with Chibnall - the cinematography and music are ravishing and it features a terrific central performance by Olivia Colman. The rest of it is subpar - Tennant is truly awful in particular not helped by being a walking cliche (the troubled grouchy detective) and the ending is ludicrous to say the least. Jodie is good though. Series 2 and 3 are beyond awful and transcend in parts to so laughably badly written that it is almost i teresting. I ditched on 2 part way through and only watched the first couple of series 3 episodes. Watch those and weep that the person responsible for such limp uninspired writing is now in charge of running a show about the adventures of a madman in a box in all of time and place - sigh.

Anonymous said...

The future looks grim :(

David Pirtle said...

I've enjoyed Moffat's run a bit more than you have, but certainly not this last episode. There was enough that was good about it, particularly the performances (even Gatiss is great), to land it just above blah in my book.

I was particularly annoyed by how overtly sexist they made the First Doctor. I can't remember Hartnell ever doing anything so awful as sharing a bro-chuckle about the fragility of the fair sex. Obviously this is Moffat's hamfisted attempt to get reluctant fans on the new Doctor's side, but all it really accomplished in my opinion was annoying fans of the First Doctor like myself. I'm so glad that Big Finish was able to give Bradley another crack at it with The First Doctor Adventures, which, by the way, is brilliant. I know a guy who loves number One like you do will adore it.

Anyway, it's goodbye Peter C. (as he was referred to by the Doctor Who Fan Club when he used to annoy them with letters as a child) and hello Jodie W. I've never seen any of her work, but her brief debut already gives me a twinge of hope. I certainly don't have any qualms about a female Doctor. I just hope she gets the writing she deserves. Chibnall's episodes aren't the best, but who knows? Fingers and toes crossed for the fall.

Guy Grist said...

Ok here I got really really bored during the episode, so bored in fact that I went and had dinner in the middle and came back to resume afterwards so hardly gripping. I feel so sorry for Capaldi he is a very fine actor and when the material is good (Heaven Sent) really shines however I personally think that his run on the show is my least favourite over all and Series 9 is probably my least favourite season of Doctor Who that's been made, I just found it boring and irritating (thank you Clara) most of the time and the Twelfth Doctor is five different characters that never gelled together at all. Don't get me started on the sexist parody of the First Doctor that was just offensive. Hope the Chibnall era will see an improvement but has a rather dull track record so I won't hold my breath but I'll give it ago and see, however I'm starting to think that perhaps the revved series should have ended with Matt.

Anonymous said...

The future is very grim (Chibs not Whittaker will drag it down). In the future the final years of the Moffat era with Capaldi will be viewed as the greatest since Tom Baker and Hinchcliffe (it already is in most parts of genuine fandom and by the credible end of the media). This was a low key farewell but in context, a lovely coda to a brilliant series which gave us the zenith of acting in the entire history of the show and handed it on to the new team with incredible generosity and heart. What a pity this legacy will go to waste.

Anonymous said...

These comments are the reason I detest Who and Big Finish fandom. Moan, moan, moan all the time. So childish and petty. Grow up and support the show for a change, instead of always dragging it down.

Anonymous said...

To the anonymous post on January 8th - you haven't quite got this whole on-line reviewing and open comment business have you? Fucking twat, keep eating whatever shit people serve you.

Anonymous said...

I just feel I have to point this out, the sunglasses and the guitar were both Capaldi's idea, you can hate them as much as you want, I'm meh, but assign blame to the right people. Not everything is Moffat's fault.