Also, both times Jack thinks he's going to die (the bomb on his ship, the Daleks killing him) he accepts it with the same kind of stoicism that River does. (Just one little BtVS quote: BUFFY: We're not all gonna make it. You know that./SPIKE: Yeah. Always knew I'd go down fightin'.) Yes, very much that. And if "who River kills" isn't a Jack-like moment of Not Flinching, I shall be very much surprised. I could see Moffat getting there in a huge number of different ways, but I'll bet you that's the kind of thing it'll be.
And oh, there is so much of Ten in Rose, here: Oh, wow. Nice. That nearly counts as foreshadowing. They do have similar sorts of motivations, which I guess is why they were good for each other and bad for each other. When neither of them had a direction, they helped each other find it. But once they'd done that, they really didn't have many ways to challenge each other, everything was rushing one way, and Rose got bowled under.
I once wrote an essay about Spike & Angel in S5 of AtS, partly because people complained a lot that neither character developed much at all. And I realised that all the development happened inbetween them. (I named it 'The Space Between', even.) Oh, cool! You know, at one point I was actually planning to write a thesis that did much the same sort of thing, and the professor I wanted as an adviser was very confused about what I planned to write about. As he finally explained it to me, the "usual" was of interpreting novels is in terms of what the characters want and how they change in response to this goal. And I was treating the characters more or less statically and looking at how their dynamic coalesces. This was so counter-intuitive to him it took us several meetings and me writing up a sample paper before he got what I wanted to do, at which point he decided that I'd really need to do some reading in Russian structuralist theory if that's how I was going to go about things.
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Date: 27 Feb 2011 06:26 pm (UTC)Also, both times Jack thinks he's going to die (the bomb on his ship, the Daleks killing him) he accepts it with the same kind of stoicism that River does. (Just one little BtVS quote: BUFFY: We're not all gonna make it. You know that./SPIKE: Yeah. Always knew I'd go down fightin'.)
Yes, very much that. And if "who River kills" isn't a Jack-like moment of Not Flinching, I shall be very much surprised. I could see Moffat getting there in a huge number of different ways, but I'll bet you that's the kind of thing it'll be.
And oh, there is so much of Ten in Rose, here:
Oh, wow. Nice. That nearly counts as foreshadowing. They do have similar sorts of motivations, which I guess is why they were good for each other and bad for each other. When neither of them had a direction, they helped each other find it. But once they'd done that, they really didn't have many ways to challenge each other, everything was rushing one way, and Rose got bowled under.
I once wrote an essay about Spike & Angel in S5 of AtS, partly because people complained a lot that neither character developed much at all. And I realised that all the development happened inbetween them. (I named it 'The Space Between', even.)
Oh, cool! You know, at one point I was actually planning to write a thesis that did much the same sort of thing, and the professor I wanted as an adviser was very confused about what I planned to write about. As he finally explained it to me, the "usual" was of interpreting novels is in terms of what the characters want and how they change in response to this goal. And I was treating the characters more or less statically and looking at how their dynamic coalesces. This was so counter-intuitive to him it took us several meetings and me writing up a sample paper before he got what I wanted to do, at which point he decided that I'd really need to do some reading in Russian structuralist theory if that's how I was going to go about things.