'Runaway Bride'- DEFINITELY. Very shippy in several places and we see the Doctor at an all time low, as a direct response of losing the woman he loves. It also sets the foundations for the supportive relationship Donna provides him with; she is the only companion who gets to see exactly what Rose means to him.
'Smith and Jones'- POSSIBLY. The end of the episode provides an interesting insight to how the Doctor perceives the relationship he had with Rose and thee's the wistful moment in the middle of the episode when he and Martha discuss the Battle of Canary Wharf.
'The Shakespeare Code'- DEFINITELY. Not particularly because of the 'Rose would know' bit, but in his reaction to Lillith when she exposes the loss he is still feeling without Rose. Very telling and I don't know how anyone can say he is not in love with Rose, after watching that scene.
'Human Nature'- DEFINITELY. He's John Smith by day, but I think how he falls in love and clearly desires a family life illustrate a subconscious longing. And of course, by night, in his dreams, he becomes the man he truly is and writes a journal about his adventures; yet the only thing he can name is the recurring woman whe 'keeps walking away' from him. Wow. A this ep must be a psychologists dream! And I think, ties in nicely with JE.
'Utopia'- DEFINITELY. His in-denial explanation to Jack about Rose at the beginning of the ep, to the way he snaps at Jack and Martha when they rib him about making exceptions for a certain blonde through to his truthful discussion with Jack about Rose later on, are all good reasons to analyse this ep.
'Partners in Crime'- DEFINITELY. There's the Doctor/Donna conversation about Rose at the end and of course, Rose's appearance.
'Fires of Pompeii'- POSSIBLY. Although there's really only his facial reaction to 'she is returning'.
'Planet of the Ood'- POSSIBLY. The 'your song will end soon' accompanied by the Doomsday music and his curious expression is interesting and there is also (what I perceived to be) his double meaning when Donna was referring to the Doctor being able hear the the Ood's song all the time.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
(no subject)
Date: 2008-09-25 09:34 am (UTC)'Smith and Jones'- POSSIBLY. The end of the episode provides an interesting insight to how the Doctor perceives the relationship he had with Rose and thee's the wistful moment in the middle of the episode when he and Martha discuss the Battle of Canary Wharf.
'The Shakespeare Code'- DEFINITELY. Not particularly because of the 'Rose would know' bit, but in his reaction to Lillith when she exposes the loss he is still feeling without Rose. Very telling and I don't know how anyone can say he is not in love with Rose, after watching that scene.
'Human Nature'- DEFINITELY. He's John Smith by day, but I think how he falls in love and clearly desires a family life illustrate a subconscious longing. And of course, by night, in his dreams, he becomes the man he truly is and writes a journal about his adventures; yet the only thing he can name is the recurring woman whe 'keeps walking away' from him. Wow. A this ep must be a psychologists dream! And I think, ties in nicely with JE.
'Utopia'- DEFINITELY. His in-denial explanation to Jack about Rose at the beginning of the ep, to the way he snaps at Jack and Martha when they rib him about making exceptions for a certain blonde through to his truthful discussion with Jack about Rose later on, are all good reasons to analyse this ep.
'Partners in Crime'- DEFINITELY. There's the Doctor/Donna conversation about Rose at the end and of course, Rose's appearance.
'Fires of Pompeii'- POSSIBLY. Although there's really only his facial reaction to 'she is returning'.
'Planet of the Ood'- POSSIBLY. The 'your song will end soon' accompanied by the Doomsday music and his curious expression is interesting and there is also (what I perceived to be) his double meaning when Donna was referring to the Doctor being able hear the the Ood's song all the time.