Just suddenly realized something kind of depressing😢:
People be like: If you're struggling with suicidal thoughts, just talk to someone and ask for help!
Robby: Displays suicidal tendencies for all 14 episodes
People be like: God this season is so annoying why won’t he just die already?
It’s honestly pretty sad. It reminds us that not everyone is capable of ‘saving’ someone with severe mental illness. If you reach out too many times, untrained, ordinary people can get overwhelmed and maybe even annoyed. A sad suffering saint is easy to love, but once depression makes him distant, irritable, and unable to care about others, it stops being romantic. And when that goes on for 14 weeks, when he shows up like this every single week, people’s sympathy starts to run out.
I've always believed that a good TV series doesn't necessarily have to tell people what to do. It can reflect real-life issues, and showing people that is just as valuable.
I once interned in an EICU, and unfortunately, I witnessed many similar incidents.
My senior, who graduated from a top medical school and was doing rotations as a resident at a prestigious hospital, seemed to have it all. But she had to face the high pressure and harsh environment of the emergency department. In her first 30 years, she pursued perfection in academics and research to the extreme, only to find herself in a place where her individuality was gradually erased. Yes, she loves medicine and is eager to help patients, but the environment's encouragement for her was far outweighed by its toll on her. Where death is a number and healthcare is a procedure. In an environment where people die almost every day, it's easy to unconsciously overlook the more mundane, yet truly important things that make us who we are, our sense of self, free time, mental health, etc. Many doctors suffer from insomnia and spinal problems due to prolonged sitting, and the injuries and illnesses they incur from work prevent them from working forever, which then becomes seen as a lack of diligence. And yes we use hand sanitizer all the time because God knows how many germs are in this environment.
The point I'm trying to make is that the emergency department is a brutal environment, and the more sensitive a person is, the more it will destroy them. Either you numb yourself, leave, or continue to suffer. One thing I haven't encountered is someone changing this environment to ensure that everyone gets what they deserve. So, while Mohan's departure was painful, it wasn't unfamiliar to me. And for the TV show that portrays all of this, I am very grateful. Even if it does end up only describing it without offering any solutions, it wouldn't make it absurd or meaningless. Honestly, who can truly give me a solution?🫠
The Pitt is baby's first fandom for so many people. Wdym I should hate Langdon, because he was stealing pills and treating patients high? I was 9 years old watching Dr House pop 3 stolen Vicodin with a half bottle of Whiskey and then treating the Black Plague. Who am I to judge?
Okay so we have all accepted the headcanon that Crowley was friends with Freddie Mercury and Freddie wrote "Good old-fashioned lover boy" based on Crowley's rants.
But what about a headcanon that Crowley also loved talking to Brian, since he was an astrophysicist? What about Crowley listening to Brian's rants about what he's learned about space? What about those two freaking out over stars? What about Crowley being very happy and very proud of our rock grandpa working on New Horizons with Nasa?
WHAT IF CROWLEY CAME TO KNOW QUEEN BECAUSE HE JUST HAPPENED TO BE FRIENDS WITH ONE VERY KEEN ASTROPHYSICS STUDENT WITH A HANDMADE GUITAR?
This is my headcanon from now on: the Bentley might play "The Best of Queen" all it wants, but Crowley's favourite song is actually '39
Clara stood at the edge of the volcano, tossing away a TARDIS key without even looking, and said to 12 with this kind of calm that was right on the verge of breaking:
“Do I have your attention?”
I absolutely could not deal with that moment—you know, that line was literally my 7th-grade English teacher's catchphrase.
Transcription and the rest of this interview is taken from brianmay.com:
It's been a traumatic year for Brian May. Freddie Mercury's illness and death, and the ensuing tabloid onslaught would have broken lesser mortals but May found refuge in his own work. the result is his solo album, Back to the Light. In an exclusive interview with Rock CD, Brian May tells Kirk Blows about life after Freddie.
COME WHAT MAY
The hair, as ever remains a trademark. Brian May's familiar curly black locks caress the side of his face as he pores over the photographs in a copy of Queen's Greatest Pix that detail the first decade of their career.
'It's funny, sometimes it seems like yesterday and sometimes it seems like a hundred years ago," he muses, reflecting on the images that document Queen's ascent from an intriguing British rock act with an acknowledgement of glamour and elegance - mainly down to their vocalist, one Frederick Mercury - to a stadium-filling entity, via some dandy sophistication.
He's more than entitled to consider many changes of the band's career as a blur, but the guitarist merely comments that 'all this has definitely had an effect on me. I'm not normal'. An ironic statement considering that Brian May is considered probably one of the most 'normal' beings within the rock fraternity. As he talks up at the group's Notting Hill headquarters of the final days of Queen, the death of Freddie Mercury and his new solo project - Back to the Light being his first solo album proper following 1983's Star Fleet Project mini-LP) credited to Brian May and Friends) - May comes across as an intelligent and sensitive human being with a great respect for privacy and protocol.
He's more than happy to appease fans and sign autographs when recognised, as long as there's a polite request, though 'there have been times when I physically haven't been able to relate to what's said. It makes you feel almost sick because somebody comes up to you and tells you how wonderful you are, but inside you really honestly feel that you don't relate to that and that they're talking about someone else.'
'There's also a part of me that just cringes every time I see a camera lens,' he admits, relating a time when he fell victim to paparazzo king Richard Young. 'There are certain situations where I don't feel comfortable having him around. Richard was one of the people that the band did kind of trust, but when all this stuff came out about me and Anita (Dobson, May's actress girlfriend) there was a picture that got published which Richard took at Fred's private party of me standing with Anita, and that still hurts me that he would sell that picture for that purpose.'
It was when news broke of that relationship in the tabloids that 'the spotlight came squarely on us. And it was hell, it was miserable,' he says.
'The way they treat people's lives is just disgusting. I don't think that people have a right to know everbody's private life. I don't see how that benefits the world at all. I think this country wins as far as pointless smut. And there's nothing you can do. There's a point where if something looks like it's going to sell newspapers they can all come and camp on your doorstep. They can be looking in your window, taking pictures of you on the toilet, there is nothing you can do and I think it should be change.'
The death of Freddie Mercury last November gave the tabloids another opportunity to wreak havoc.
'I think it's all very predicatable,' May sighs. 'After his death even, they went both ways. There were some who wanted to bathe in the glory and some who still wanted to have their little digs, and, of course, now they had more freedom, because they're free of the laws of libel. So some of them really laid into him with complete lies. I was appalled... it made me so angry. Not just because they were slating Freddie, which is bad enough, but because it was dangerous for other people. They were saying things like "Fred got AIDS because he was promiscuous, the rest of us needn't worry". I think the Evening Standard was one of the worst offenders. And to print that stuff is gonna make a few kids think, I'm okay, and the next day they'll be HIV positive. I think the people that put out that kind of stuff are guilty of something very serious.'
It almost goes without saying that the closing annals of Queen's career were indeed painful, as May, bassist John Deacon and drummer Roger Taylor witnessed the gradual demise of their vocalist. Both Th Miracle (1989) and last year's Innuendo were recorded in the knowledge that they would probably be Freddie Mercury's last efforts.
'I think we all thought The Miracle was going to be last one because there were no guarantees how long Fred was gonna last at that time, and he'd been told by his doctor that he probably wouldn't last the duration of that album. So we just knew we had to press on and do what we could,' reflects Brian. 'In Freddie's mind it was totally clear to him, he just said "I want to go on working, business as usual, until I fucking drop. That's what I want, and I'd like you to support me in being able to do this and that's why I don't want any discussion about this".'
'I think we were all going through miserable, difficult times, and the studio becomes the only place where you have some sort of refuge. And I know for him it kept him alive, and even when he got to the point... he was already having problems doing The Miracle, but by the time Innuendo was there he could only just stand, and he could sing - by end of that album - just one or two days a week. It was tough psychologically having to sort of... keep it from everyone else, I suppose, because I never told my family or anything.'
When did the band actually discover that Freddie had AIDS?
'Well... various private moments, but I suppose... it was a gradual thing. There's a lot of unspoken stuff for a long time and then, yeah, there was a point where we sat down and talked about it, but I suppose that was only about... talking about it directly, only a few months before he went, nine months before or something.'
'You'll find things on The Miracle where we're already sort of... on The Miracle we actually managed to write stuff together, which is a miracle in itself, becaue we all used to be very pig-headed and very possessive about our songs. But we did, we wrote together, and there's certainly stuff in The Miracle where we're talking about what it's all gonna mean as we wind it up. You can see that now and it got very direct on Innuendo.'
Is listening to Innuendo a painful experience now?
''Mmmmmm... yes, it is. It is painful, especially on the radio when you're unprepared. Sometimes you just hear a snatch of his voice and you think, Christ, he's not around doing that no more.'
Rather than throwing May off course from his solo album - the genesis of which took place five years ago ('I've written a little explanation on the album, and what it says is I've been doing this for five years and during that time my life and my feelings changed, and so the music is a cross section of all that. I was in a pretty sort of low state five yars ago, I was very untogether and in much pain,' he states) - he sought refuge in the recording process.
'I made a conscious decision that I would work my way through it and I think it's helped,' he declares. 'I just plunged into recording almost every day. We all did get... I don't know if we're actually through it yet. There's a part of us that doesn't believe that he's not there yet. It takes a long time to really adjust and redraw your map, you know. I still expect him to come in the door really, particularly in the studio, there's still that feeling.'
'Some of it's quite nice, you know, sometimes when I'm doing something I sort of feel like he's... I'm not a heavily spiritual person but I would feel what Fred would've said. I can hear him saying "No, c'mon, you can do better than that". Part of me is beginning to feel sort of comfortable about it, and he's not suffering anymore, thank God.'
'You think you're prepared but you can't... we were totally destroyed. He was exceptional. I know I'm biased, you know, but I think he was a very unusual person, quite complex in a way, and yet inside, like the rest of us, quite small. You know, the feelings of insecurity and smallness that we all have propel us to do all sorts of things, don't they, you build up your compensation screen. You develop all these ways of dealing with life, but it's always... even if you lose touch with it, which some people do and I did at some point, it's always in there somewhere, this little person that's still basically a child, that's very vulnerable, and Fred was, definitley.'
'I think I'm stil trying to get my perspectives on what this all was. And I feel very proud of what we were, you know. I just consider that I was very fortunate to be part of all that, and we found a combination that was magical and worked. Freddie in particular is... sometimes his methods were very blunt with people, to stir up... sometimes he stirred up hatred in people, but he got a reaction from everyone.'
'It's almost a selfish thing to say, but you lose a part of yourself. I lost my dad not too long ago, and you grieve because he's not there, and then there's also something else going on, which is that you've lost a piece of yourself. And that's how I feel, I've been close to Freddie for 25 years, which is most of my adult life, and so there's a gaping hole. And it'll be a long time before it doesn't feel like that, I'm sure.'
How did Roger Taylor and John Deacon handle Freddie's death?
May takes a long pause. 'Er... .. I think we all got completely messed up in our diferent ways, you'd have to talk to them, you know. But it was a continuous process, of which the actual death was one part. I think we all got seriously messed up in the time leading up to it, because you're part of it and you feel so helpless. None of us could believe that it was happening before our eyes.'
'I think the last two or three years actually brought us together, as there was this feeling that the world outside can crumble but there is something in here which is worth doing. So I think we did get pretty close and I think we are still fairly close.'
Back To The Light - made with the assistance of bassist Neil Murray ('a favourite player of mine') and drummer Cozy Powell ('we actually developed a good way of working together, so hopefully there's the beginnings of something there') - may reflect a range of differing emotions but it's inevitable that Freddie Mercury's death permeates some of the record.
'There's quite a bit, I suppose, you'd have to fish it out quite carefully. Some of it's quite ambiguous; when I used to listen to Dylan and John Lennon I'd get a piece of life from them that meant something to me,' he says.
'Nothing But Blue happened because Cozy came in with a backing track and said play something on it. It was the night before Freddie went, but for the first time I had this complete conviction that it was imminent, and I felt that he was going at that point. I used that track and wrote the song about how I felt at that point.'
Rather less emotional was the experience of penning Drive By You, a version of which appears as the soundtrack for a Ford TV advert, after being approached by some advertising execs in LA: 'I said to them, "If you throw something at me I'll tell you whether it means anything to me or not." It was only after recognising the ambiguity of the phrase 'driven by you' that he decided to write the song.
'I approached it on two fronts, one was for the advert - which has different words, obviously - and the other was for me. And it was only because I could do it for me that I did it at all.'
'This album to me is a sort of divide, a crossroads. I wanted to make this record on my own, with nobody else to argue with, just to see what happened. My major driving force really is to do something worthwhile, so that when I do die I can say I'm proud of that. The worst thing you can do is stick out more wallpaper for the world. I would hate to put anything out that I thought was just repetition or superfluous or whatever. The only reason I've put this out is because I think I actually do have something to say, and it's worth saying. That's why it's taken five years, I suppose, I could have chucked out all sorts of stuff. I'm quite good at being a craftsman, I can make pop songs to a certain extent, I know I can. But I wanted this album to be... to be special to some people.'
The ultimate goal, though is to take it out live. Does he see himself as a frontman?
'Erm... interesting question,' he says, laughing. 'It's early days yet. I sung until I bled in the studio and it's for other people to judge whether I pulled it off or not, but I did some things I didn't think I could do in the beginning. But it's very different doing it on stage. I don't know if I have the expertise or the flair, or even the physical capabilites to deliver that stuff for two hours. I seem to suffer from colds half my life anyway, but there's only one day in three where I can sing that stuff on the album, so I'm still wrestling with that problem.'
There's still been no formal notification of Queen's split as yet.
'I don't know what splitting up means, really,' May says. 'I mean, we're not doing anything together at the moment except making sure that the all the old stuff is properly handled (the band have been overseeing the remasering of their catalogue for CD; And if you don't keep an eye on all that stuff it doesn't get done right. Half the original master of the first album is missing, nobody knows where it is. It's quite shocking,' he says). But we talk, and when we feel a bit more ready for it we'll go in and look at the material which Fred has sung and that we haven't released yet, because there is a bit left,'he declares, estimating that there's 'about half an album's worth.'
'We always said that if any of us disappeared that would be the end of it and I think that's right really, I don't have any inclination to try and be Queen without Freddie. That doesn't mean that I don't ever want to work with the other two again because I like working with them and I think we do have the ability to play together which the (Freddie Mercury tribute) gig showed. But how we do that in the future I've no idea. All I know is that at the moment, I don't want to do another thing like Wembley.. it's been suggested that we could do other things like that, but I don't want to make a career of it. That was for a purpose.'
'I think a lot of people thought that Queen was very calculating,' he opines, 'that we had this world domination plan, but in fact we didn't. The major thing for us was to keep ourselves in areas that we thought were worthwhile. And even though we didn't have a masterplan we always fought for control, and I think all the mistakes we made we made ourselves. But I don't feel like we have to make any apologies, if you have any spirit of adventure in you you do make mistakes.'
'It's funny, I went to a book launch the other day, and this guy came up to me and said "Hullo, pleased to meet you, I'm a socialist," or something like that, and he said, "I just want to tell you I really like some of your work. That was the first album, and after that you did crap and everything was commerical and everybody knows that". And I said, "I guess so, I guess that includes Bohemian Rhapsody and We Will Rock You and all that stuff", and he said "I still wanted to say, y'know, you did some good stuff". And that was the conversation really, and I thought, everybody has their own view. That's his view, and it wasn't worth arguing, because that's the way he sees it. There's some people who hated everything we did, you know. That's life.'
Kirk Blows
The Freddie Mercury Tribute Concert
'We had a lot of doubts. On the night that Freddie died we announced that when the time was right we'd send him off in the manner and style to which he was accustomed, so it was in our minds from the beginning. But we went through quite a while where we actually didn't want to do it. When we looked at it and thought we're gonna be on stage with someone else singing Freddie's lines, we weren't sure whether we did want to do it or not. I think Deacky in particular said that he didn't.'
'Then we got to the point where we said, okay, let's contact some people and see how they feel about it - some key people we thought it would be nice to work with and who we knew had special feelings about Freddie. And they were so enthusiastic, we sort of gained momentum from that point. I'm talking about George Michael and Elton, Guns N' Roses...'
'A lot of it happened in rehearsals, the moments where it would all get too much... the first time we met all those people and went through the songs, there were some incredibly emotional moments. And I think the three of us got through a lot of that before the actual gig, not all of it but a lot of it. I think we were aware that if we were in tears the whole time it would be a joke, it just wouldn't work. It had to be a up thing; Fred would've hated people mooning around and being maudlin over him. So we wanted it to be big and actually rejoicing about his life, 'cos that's what it was about.'
'I think most of it worked. We made some mistakes... but I think for what we took on most of it came off, as an event. As far as playing, it was a case of getting through, because there was so much to worry about in terms of the show.'
'But there were some great things, you know, seeing Axl and Elton... there were some amazing things and I was personally very proud of Liza Minnelli being there because I think Freddie would have wanted that. I think she's quite close to him in spirit, and almost everybody disagreed with me, but I don't think anybody else could have stepped into that spot at the end of the show (for We Are The Champions). I could've sung it, but I don't think it would've meant what it did done that way'.
everyone gets heaven sent wrong. youtube essays will describe it as “a masterpiece that explores grief,” but it doesn’t really. sure, the abstractization of the theme is there to contextualize the mood of the story, but it doesn't actually explore grief in any specific manner.
there’s little examination of emotional fallout, no real psychological depth, no attempt to reflect the social or personal dimensions of loss. the portrayal of grief is flattened into a metaphor, the doctor hitting a wall for two billion years, and that's intentional.
this common interpretation actually causes people to misread the episode. like here, fullfatvideos describe the doctor hallucinating clara encouraging him to fight and win as a beautiful testament to their love and how she's always there to pick him up.
but that's the complete opposite of the intended effect. clara specifically told the doctor not to be a warrior, to not "win," to not hurt himself over her. he’s twisting her image to have the girl he loves the most tell him what he wants her to say.
in fact, hell bent directly contrasts his imagined clara with what the real one says when she realizes what he’s done (which isn’t encouragement, but horror). the doctor doesn’t process his grief. he doesn’t get better. he gets worse. he twists her memory to betray her wishes.
he's not healing, he’s mythologizing.the story turns grief into a sort of performance for us, presenting the doctor as an ideal: the solitary hero who never gives up, who endures beyond human limits. but that’s not a story about processing loss. that’s a story about refusing to.
on its own, it actually lands better as a story about persistence rather than grief—the draining, repetitive effort of clawing your way forward with no clear progress. that lines up more with how it feels.
but even then, it’s stylized to the point of detachment (because that's what the doctor is doing). it’s about the concept of struggling, which is why it abstractly fits grief, but could just as easily be read autobiographically as moffat’s experience as showrunner.
and that abstraction, while effective, also makes it easy to project onto. i think that’s part of why it gets picked up as this grand, universal statement on grief. it’s vague enough to seem profound, clean enough to feel “serious”, and emotionally restrained in a way that flatters a particular kind of viewer.
the doctor doesn’t cry. he endures. he outsmarts. he wins. and for a lot of people, that feels like emotional depth; because it’s presented with enough slow motion, voiceover, and gravitas to seem like it must mean something profound.
and it’s also why a lot of fans like this one but dislike hell bent (if you love both, you’re good). because it appeals to fans who idealize “pure” sci-fi. fans who resent the show when it centers women too much, or gets too political, or dares to be camp or comedic.
for them, this is the dream: one man alone in a gothic castle, solving a puzzle, stewing in stoic, masculine pain. the woman is dead. the feelings are controlled. the story is self-contained. it’s “adult,” but not actually mature.
but that version of the doctor—the invincible, lone genius punching through time—isn’t the real doctor. it’s who he wants to be: the doctor as myth. hell bent interrupts that, pulling us back from the fantasy to someone who broke everything because he couldn’t let go.
when people call this the best episode of doctor who ever, it’s worth asking: best at what? what kind of doctor who is this? it’s broad and professional enough to feel like a perfect episode, and open enough to support whatever interpretation you want.
in fact, it’s probably, on a pure executional level, the best episode there’s ever been. it’s a technical showcase first and foremost. fifty-five minutes of television with everyone involved executing at the top of their game.
and that’s part of why it appeals so strongly to a certain kind of fan: the ones who want doctor who to be “serious” and “clever,” without the mess of something more difficult. it’s self-contained, self-justifying, and built to be admired rather than interrogated.
except it's not. it’s my second favourite episode of the entire show, but it doesn’t actually work without hell bent (my actually favourite episode of the entire show), which is what allows it to be interrogated.
because despite everyone loving heaven sent but not loving the follow-up as much, despite people calling it moffat’s masterpiece—it’s hell bent that’s the masterpiece. and it’s necessary. not just as a follow-up, but as a challenge.
it reframes everything the doctor does not as noble, but as obsessive. it takes the fantasy that he endured because of love and reveals it as denial. nothing about heaven sent is him overcoming or processing anything. nothing good happens and he only gets worse.
it only looked like a victory because we were watching the story he told himself. heaven sent isn’t actually about anything truly profound on its own. it only becomes meaningful because it’s the middle of a three-part story. so it only tells part of it. hell bent tells the rest.
Exactly. Even though Heaven Sent left so much room for exploring themes of grief, death, and final farewells, 12 never actually learned—or even wanted—to process any of it. He just, REFUSED. He stubbornly fought against the laws of the universe. He spent 4.5 billion years just to bring back an ordinary human being. But isn't that extraordinary? What else can truly stand against death and eternity, if not love and an unyielding devotion? And what could possibly matter as much as the sheer will of a single human being, defying the laws of the cosmos themselves?
You probably have no idea how easily I related to Clara — when I heard the Doctor said“You can come with me”my first gut reaction was:“OMG THAT'S AMAZING! Hang on, I'll check my schedule real quick.”
After 8 seasons and finally we got a companion who struggled with the exact same dilemma I would have.
Yes, I know — it's the universe, it's the Doctor.
But I still need to have my life under control!
Let's hear it for the part-time companions who sync their calendars while saving the universe😎
Rewatched the Christmas special Last Christmas again, and while I was being emotionally wrecked as usual, something CRAZY suddenly clicked in my mind —
Have you guys read All the Young Dudes by MsKingBean89?
Maybe I don't even need to explain, but in case you haven't: it's a truly monumental fanfic about the stories and love between Sirius and Remus from Harry Potter.
In the final chapters, after all the doubt, distance, mistakes, war, death, and 13 long years of life and all the emotions and experiences that came with it, these two wrecks of men met again. At first they were cautious. Polite. Keeping their distance to avoid the vast, painful history between them. But the gravity was still there, tugging them together. In the final chapter, Sirius offered Remus a choice: love or hate.
And Remus chose love.
That's how this 188-chapter epic ends.
I remember being completely undone by that ending — It said so much with so little. But I think it's only now, years later, after watching Last Christmas and witnessing what passed between 12 and Clara, that I truly understand what it meant.
We already had enough bad timing.
We messed up when we were young. We hurt each other. Looking back, it's all ruins and regret. Ahead of us is short life and cruel fate and we probably won't get a long or happy future.
But right now, at this very moment, here you are — having crossed every obstacle and silence between us, standing in front of me once more, offering me a second chance. And I would choose you —-unflinchingly, recklessly. No past to revisit, no forgiveness to ask, no need for forever, no guarantee of a happy ending.
Just, give me one more year, one more Christmas, one more adventure, one more moment by your side — that would be enough. That would be the greatest gift the universe could give. And I will take it. I will always take it.
Do you know how these stories end?
Sirius died a year later. Remus met Tonks, had Teddy, and died in the Battle of Hogwarts.
Clara lost her heartbeat. The Doctor lost all memory of her. They wandered the universe, but no longer together.
And still, to me, these are as complete as relationships can be.
Not just because of all the laughter and arguments and long years of growing together. But because when they were given a second chance, they chose love, they chose each other, and they chose to listen to their hearts. They had every reason to let go but to hell with it.
And in that fleeting bit of time they borrowed from destiny, they stayed by each other's side, completely and without reservation.
Tall. Skinny. Blue-eyed. A mess of wild curls. The guy full of Whimsy. The socially awkward, offbeat, out-of-place-in-a-crowd but totally good with kids type.
The one with the energy of a mad artist or an unhinged scientist, rambling on about strange topics. Bonus points if this guy has long fingers and can play an instrument or fix a machine😍.
The one who knows how to love, who dares to give it all, expecting nothing in return.
Kind, soft-hearted. Wants to do so much but often can't. Cries for the bloody awful reality, yet still does the things that needs to do—even when they lead nowhere. And if this character gets whumped a lot, I'm SOOOO in👻.
Me: I know, I know, my taste is weird and these demands are oddly specific…
Steven Moffat and the DW crew: [creates the 12th Doctor, whole 3 seasons and several specials]
I am and will forever be a Martha Jones enjoyer/defender but not in a "she's a great character but I think she was underserved by the story" kind of way because I actually like her arch of constantly being epic and learning to value herself and put herself first and that can't happen without her complicated relationship with the Doctor. Her choosing to leave is one of the most powerful choices in all of Doctor Who for me. The way Freema was treated by the public is absolutely terrible. I cannot understand why anyone could dislike Martha and that is an opinion I will take to the grave.
From the way the filming of this and Hell Bent were described, it was very emotional for them as well. Lots of tears. Talk of how close they were in real life and how that blended and blurred into the sadness of the character loss. He was playing Clara's theme on guitar off to the side while she filmed some of her final scences in Hell Bent. I have a screenshot of a crew member speaking on it and some other references below.💔😭
germansingergirl
janainaart
romaincrisis
ellievsbear
stormborns
2087
snowghoul
