vashtas nerada

weird old forgotten tumblr things that I never see included in this sort of list:
  • ah, the scalene triangle
  • loving Cole Sprouse
  • hating Cole Sprouse 
    • the tons of “social experiment” memes that followed
  • the first wave of Actual Cannibal Shia LaBaeuf memes from before there was even a video for it
  • trying to trick “hipster” blogs into reblogging fandom content 
    • the whole strict dichotomy between fandom and hipster blogs as a whole tbh
  • “I was here here before MTV!”
  • 12.9 year olds
  • “what is air” and “my ovaries” 
  • non-tumblr people were peasants
  • nice legs daisy dukes
  • slideshows with comic sans and sometimes making your mom or sibling comment on some cringey show they’d never seen
  • homestuck
  • tumblr user pizza (what ever happened to them???)
  • tumblr user the-vashta-nerada 
  • Nine In The Afternoon jokes/references all the time??
  • imagine how is touch the sky
  • “you tried” stars and all the variations thereupon
  • do she got the booty?
  • “can you give me directions to the olive garden?”
  • night bloggers 

add more help me relive the past 6 years i’ve wasted on this garbage website

8

(Top to bottom and left to right)

“Welcome!” - 10 and Donna being jumpy together is my new favorite thing. Plus: The timing is impeccable. 

“Gotcha!” - Took me a very long time to notice the meticulous design in this moment. Well played, DP and director. Well played. 

Baby’s First “Hello, Sweetie” - I mean… I just… how could I not list this as one of my favorite moments in the episode (if not in the entire show)? And watching it now in retrospect, knowing its significance and the pain that’s implied…it’s so killer. Also: Props to La Kingston for absolutely making me believe she knew the Doctor so well and that they had a rich and romantic history… with one single look. 

“Bet Your Life?” - “Always.” Doctor did you check out your future wife just there? Yeah, I think ya did. 

“Who Are You…to Me?” - Such beauty and grace in her frustration and exacerbation at not being able to explain to him who she is and what she means to him. Love that brief shot so very much. 

“Let’s All Meet the Vashta Nerada” - Show of hands as to who thinks Tennant improvised that flashlight/torch flip. 🙋🏻

“Snap!” - Okay, it’s very subtle, but River totally says, “Snap!” when the Doctor marvels at her sonic screwdriver! I remember reading that “snap” was supposed to be a code word the Doctor would use to communicate with other regenerations–a sort of signal to say, “Hey, it’s me!” Not sure why the word got used here as we know River’s not a Doctor iteration (at least I hope not, because that would be too timey wimey for me), but I do like that Moffat is signaling to us that some sort of weird Time-Lord-y magic is at work when River shows up. 

“Run!” - Instinctive handholding. Even when one of them hasn’t met the other before. You try and tell me they’re not married. 


Doctor Who Revival Series Re-Watch (River Song Edition)

Series 4, Episode 8: “Silence in the Library”

Fleuve’s fave scenes/observations ☺️💙💙

Image credits to the lovely BBC.

Yes, but. Think of this:

Newt’s suitcase is bigger on the inside. It’s big enough to live in, even - many of Newt’s creatures do. After a while, Newt does. He adds charms to it bit by bit, step by step at a time, and they layer up and mix and integrate in all sorts of new and interesting ways. Newt doesn’t know what he’s doing, not really (Hogwarts drop out remember?) but he knows enough and he can make up the rest and it all seems to work so why worry? Newt is not the worrying sort.

And then, Newt’s suitcase needs some protections. He likes Tina, Tina is a bro now, but let’s not forget that she closed the lid and sat on his suitcase, picked it up and carted him off to MACUSA like so much laundry in a basket. So, Newt adds some… enhancements. Notice me nots, to begin with, chameleon charms, the usual sort. A few barrier wards - you need a key, now, to open the case (or for Newt, a click of the fingers, but that only works for Newt). And then, his pride and joy, the ability to apparate the suitcase while standing inside it and take everything - case, creatures, all of it - with you, safely out of danger and out of reach of various MACUSA holding cells.

Well. “Apparate”. It’s not quite apparition. It’s disappearing from one place and reappearing in another, and it’s controlled via a runic matrix so huge and complex that he has to roll it up into a giant cylinder and stand it almost directly under the entrance to the case. Except, then, you can’t get in because there’s a giant control cylinder in the way, so he moves things about a bit and shifts the case onto its side so that it’s more like a real door and less like a trap door. It’s different, but it’s all good, even if it takes a while to load up the not-apparition and it makes a funny whooshing sound while it’s working.

Then, then then then, why travel the normal way? Why bother with boats and trains and all of that, why not just move the case? It’s tricky, mapping where he wants to go, and the runes are now unhelpfully rolled away in the cylinder - he’s had to put a barrier round it to keep the creatures out - so he adds all these levers and knobs and twiddly bits and he’s got a control panel going.

He doesn’t always end up where he ought, but he’s close enough. And if he slides about in time a bit, well. The muggles have known about space-time for twenty years now, and he’s usually mostly right. Mostly.

He ends up where he needs to be, and that’s the important thing. He suspects, actually, that his case is interfering a bit here - it’s got so much magic in it now that he wouldn’t be surprised if it’d developed a bit of sentience. He gets in the habit of talking to it as he bustles about, much like he would to any of his other creatures, and it seems to keep the case happy. Why on earth it felt the need to jam the chameleon charms on a phone box of all things though is beyond him, but. It’s still all good.

Then it turns out that “where he needs to be” is at various points “a thousand years in the past” or “two galaxies over” and he runs through space and time (hell of a lot of running involved in this saving-creatures things, which evolves into saving-people things, which somehow become saving-planets and Newt just keeps running) and it’s not all good anymore. It’s friggin awesome.

(And then, just because, Newt drops back into New York in his phone box suitcase. He leans out the door and he holds out his hand and he says, “There’s a whole universe waiting. Come with me?”

The case hums behind him, the slowly spiralling runes of the control column glowing with a faint golden light. The niffler scurries round trying to catch, scuffling paws pressing who knows what buttons and levers that the case carefully puts back behind it. There’s new habitats in the depths of the case, ice tundras where the ood can sing and never be slaves, shadowed forests where the vashta nerada lurk, a pocket of space that stretches impossibly large for when the last space whale in the universe comes to call.

“Come with me?” Newt asks, and Credence takes his hand and steps into the stars.)

(Alternatively: “Come with me?” Newt asks. Graves lifts his coffee and tries to drown himself in it.

“How illegal is that contraption?” he asks from behind his mug.

“It’s perfectly legal!” Newt protests. “They don’t get around to outlawing it until at least the twenty eighth century.”

“The twenty eighth century oh god.”

“On this planet. It might be more illegal on other planets. Maybe.”

Oh god.”)

A theory

If I recall in ‘Vashta Nerada’ when River died 10 put her diary among all the other books in the library and left it there.

In the preview for the next episode it shows 12 with River’s diary and a scene in a library. Could he have gone back to the library?

He’s blind now as well so he can’t see the place where his wife died. River’s final resting place and he can’t even say goodbye properly. Seeing the exact spot she died, mourning, and remembering.

Also, could we have some scenes of him reminiscing about the good ‘ol days with Donna?

This episode is going to break my heart in so many ways.

i love how in doctor who all the things that are scary are scary because of the unknown, not because they’re physically horrifyig or appear unexpectedly on screen. you can’t be 100% sure none of these things exist: each minute of your life you may be standing infront of the silence and not remember it’s behind your back, you always have a change to blink and dissapear looking at the weeping angel, you may have vashta nerada hiding in your shadow. you also may not be real, btw. and it’s very scary just because you never know for sure. doctor who is the scariest thing i’ve ever watched in my life.

anonymous asked:

Is there anything you actually like about Steven Moffat?

Yes. 

I think he writes good monsters. He’s skilled at tapping into very basic, almost primal fears. Some of his creations are amazing and feel iconic to me. The Weeping Angels, for example, are bound to live on in Doctor Who years into the future because they’re such a great concept. He also has a real knack of making ordinary things unnerving. I mean I’ve never been more scared of a house than Amelia Pond’s house back in Eleventh Hour. The idea of some whole other room existing because you don’t pay attention is horrifying. Also the Vashta Nerada were a pretty cool concept. And the Silence were good before we found out too much about them, because to me they lost some of their appeal and they didn’t make much sense. But the initial idea of a monster making you forget them is really frightening. 

I also think he’s a great ideas man. This might be why his stories work so well within a series headed by another writer. I really looked forward to his episodes while RTD was in charge because RTD had already taken care of the character building and making believable relationships, and Moffat could throw in his scary stuff and clever time travel plots without having to lose that characterisation element. RTD also had a series arc which would run through his stories, so Moffat’s episodes felt connected to all the others. 

Also he can write very funny dialogue for eccentric characters (like Missy for example). I just think he lacks the ability to make more normal characters come to life. You can get a lot of quotable lines from Moffat, but I think he lacks the emotional heart to make his characters believable. Which is fine if you’re writing larger than life pantomime characters, but maybe not for everyone else. 

One last thing I thought of (there’s probably more), is that he created the Eleventh and Twelfth Doctors, and although I hated what became of Eleven later on, the initial concept and how he was in Series 5 was good. And Twelve definitely works. As concepts they are successful, which I suppose ties into the fact Moffat’s an ideas man. It’s just a question of whether he can hold onto these ideas and finish them off in satisfying ways without jumping onto the next concept or trying to distract viewers from the things that don’t add up. 

xxx