49,076
edits
Robert Holmes: Difference between revisions
From Tardis Wiki, the free Doctor Who reference
→Analysis
| Line 16: | Line 16: | ||
Many of Holmes' scripts recycled essentially the same plot: a crippled (often deformed) villain is trapped in an underground or otherwise isolated lair, dependent upon the physical or mental strength of their servants. Their ultimate goal is to escape and/or restore themselves to their former power. This broad outline applies to some extent to both Holmes' first and last completed stories, as well as four of his most celebrated contributions, ''[[Pyramids of Mars]]'', ''[[The Deadly Assassin]]'', ''[[The Talons of Weng-Chiang]]'', and ''[[The Caves of Androzani]]''. | Many of Holmes' scripts recycled essentially the same plot: a crippled (often deformed) villain is trapped in an underground or otherwise isolated lair, dependent upon the physical or mental strength of their servants. Their ultimate goal is to escape and/or restore themselves to their former power. This broad outline applies to some extent to both Holmes' first and last completed stories, as well as four of his most celebrated contributions, ''[[Pyramids of Mars]]'', ''[[The Deadly Assassin]]'', ''[[The Talons of Weng-Chiang]]'', and ''[[The Caves of Androzani]]''. | ||
However this is not to say Holmes was a formulaic writer, and the stories mentioned do not appear notably similar. This is probably due to the presence of another distinctive Holmes quality, a willingness to engage in | However this is not to say Holmes was a formulaic writer, and the stories mentioned do not appear notably similar. This is probably due to the presence of another distinctive Holmes quality, a willingness to engage in deliberate pastiches of well-known films and fiction. This was particularly evident during his time as script editor. Gothic literature and pulp fiction provided Holmes with particularly rich pickings. | ||
Also running through Holmes' scripts are a love of colourful, often bizarre or esoteric language (he disinterred the arcane word [[Valeyard]], which means ''Doctor of Law'', for his final scripts), and a fondness for larger-than-life characterisation. He had a particularly good line in lovable rogues, who often came in pairs and whose by-play provides an ironic commentary on the events of the story. | Also running through Holmes' scripts are a love of colourful, often bizarre or esoteric language (he disinterred the arcane word [[Valeyard]], which means ''Doctor of Law'', for his final scripts), and a fondness for larger-than-life characterisation. He had a particularly good line in lovable rogues, who often came in pairs and whose by-play provides an ironic commentary on the events of the story. | ||
