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Due to the sheer breadth of things to criticise in regards to plot, acting, dialogue and political preaching, there hasn't been enough emphasis on how much of a step down the production design and direction of Series 11 are from the Moffat era, perhaps best exemplified by that ridiculous excuse for a TARDIS interior.
The presence of a full police box protruding at the entrance destroys the illusion of it being bigger on the inside, making it feel very blatantly like a film set. It no longer feels like a machine whose components have a function. What purpose could conceivably be served by the massive walls of interlocking metal gears fading into the formless black void that is the background? For that matter, why does the control room fade into an endless, formless black void? Where are the doors to access other areas? Why haven't we seen any other areas? Why have the roundels been replaced by a thin, mostly empty metal frame that looks like it belongs in a modern "art" gallery, with a few blue lights here and there? Why has the time rotor been replaced by a crystalline substance that belongs to a race of genocidal space Nazis who've never even set foot inside the TARDIS? What in the fucking world are those enormous crystal pillars that most closely resemble giant earthworms nodding their heads and no doubt make the set an absolute nightmare to film? Perhaps they're just phallic symbols which represent the weight of the patriarchy pressing down on The Doc? Why does the console practically look bare, with none of the quirky customisations or alternative control methods that made the Smith/Capaldi consoles so memorable? There's no evidence whatsoever that it's a place anyone actually lives or spends any time in. Why, with a crew of four, isn't there even a single chair or table?
Oh, and you know how certain NuWho fanboys can't stop wittering on about "wobbly sets" in conversations about the merits of TruWho? Well, take a good fucking look at that cheap, plastic-looking crystal thing where the time rotor used to be! On a budget the likes of Lambert, Letts & Hinchcliffe could only dream of, it wobbles more egregiously than any Classic Who time rotor ever did, which just goes to show how little anyone cares at this point.
I also find it hilarious that the shills from Digital Spy and the Radio Times are gullible enough to think that simply switching to a 2:1 aspect ratio alone constitutes "great cinematography". Such a wide aspect ratio is only worth using if you're actually going to emphasise scale. Being the thoughtless buffoons that they are, several of Chibnall's directors instead went with a bizarre excess of close-up shots. Christ, this series is just so bad in every conceivable way. You couldn't make it up.
The presence of a full police box protruding at the entrance destroys the illusion of it being bigger on the inside, making it feel very blatantly like a film set. It no longer feels like a machine whose components have a function. What purpose could conceivably be served by the massive walls of interlocking metal gears fading into the formless black void that is the background? For that matter, why does the control room fade into an endless, formless black void? Where are the doors to access other areas? Why haven't we seen any other areas? Why have the roundels been replaced by a thin, mostly empty metal frame that looks like it belongs in a modern "art" gallery, with a few blue lights here and there? Why has the time rotor been replaced by a crystalline substance that belongs to a race of genocidal space Nazis who've never even set foot inside the TARDIS? What in the fucking world are those enormous crystal pillars that most closely resemble giant earthworms nodding their heads and no doubt make the set an absolute nightmare to film? Perhaps they're just phallic symbols which represent the weight of the patriarchy pressing down on The Doc? Why does the console practically look bare, with none of the quirky customisations or alternative control methods that made the Smith/Capaldi consoles so memorable? There's no evidence whatsoever that it's a place anyone actually lives or spends any time in. Why, with a crew of four, isn't there even a single chair or table?
Oh, and you know how certain NuWho fanboys can't stop wittering on about "wobbly sets" in conversations about the merits of TruWho? Well, take a good fucking look at that cheap, plastic-looking crystal thing where the time rotor used to be! On a budget the likes of Lambert, Letts & Hinchcliffe could only dream of, it wobbles more egregiously than any Classic Who time rotor ever did, which just goes to show how little anyone cares at this point.
I also find it hilarious that the shills from Digital Spy and the Radio Times are gullible enough to think that simply switching to a 2:1 aspect ratio alone constitutes "great cinematography". Such a wide aspect ratio is only worth using if you're actually going to emphasise scale. Being the thoughtless buffoons that they are, several of Chibnall's directors instead went with a bizarre excess of close-up shots. Christ, this series is just so bad in every conceivable way. You couldn't make it up.
