Please do not read this unless you have watched Doctor Who Series 9, Episode 11: ‘Heaven Sent’. It is a real treat to watch, and you will be doing yourself a massive disservice by not experiencing uninfluenced for the first time. If you’re not bothered, please read on.
As I’m writing this, I’m watching Heaven Sent again. I have full confidence that I will be able to appreciate it like the day I first saw it because I last watched it at 2am the other evening and got so excited to do so again and get my thoughts down. I love this episode so much. The first time I saw it was the day after it aired (28th November 2015), in the early morning when I was hungover from an intoxicating Saturday evening. It was time for me to indulge in my university first year comfort of Doctor Who on a Sunday morning and this episode helped resurrect me that day.
The problem with beginning to write this piece is that I don’t even know where to start. I’ve talked about this episode so many times in the years that it aired, that this task seemed far too gargantuan. So, my approach is to do yet another re-watch and get my thoughts down, so it’s closer to a commentary or watch along. Apologies if it seems very stream-of-Netflix stream-of-consciousness.
The first thing I love to mention about Heaven Sent is that the episode doesn’t even start with a ‘Previously…’ reel of the last episode: it knows how good it is. It is the second part in a three-part story and lets itself stand on its own so well. We find our Doctor alone and in an unknown and mysterious place – grief stricken and angry after watching his close friend die in agony (again!).
In terms of the expectations I had for Heaven Sent, I was quite excited but equally intrigued. My friend Sam had told me that he read in the Radio Times or somewhere that this series would feature a Peter Capaldi only episode. As mentioned in a previous article, Peter Capaldi was and still is one of my favourite actors, even before he was cast in one of my favourite roles as The Doctor. He was a force of nature as Malcolm Tucker in The Thick of It, and seeing his talent applied to one of my most beloved characters whilst bringing some of his individual flair was so exciting. The Twelfth Doctor was darker, more alien and grumpier than what we were used to in previous Series of the show, as previous incarnations were more of an ‘intergalactic best mate’ type.
Following on from Series 8 – Capaldi’s first – I felt slightly disappointed that they were very confused with who The Twelfth Doctor was. There were some interesting conversations at the start of that Series on whether ‘he was a good man or not’ and some wobbles in his confidence that I thought were interesting to discuss further but ultimately it ended up as fairy dust.
However, when Series 9 came along, it was interesting to see that this Doctor was still very self-doubtful – experiencing a guitar playing, t-shirt wearing mid-life crisis of sorts. What they had decided to do was much more interesting and solid than what the previous series attempted and therefore much more satisfying for me.
One thing I would like to mention is that showrunner Steven Moffat liked to deviate from the formula of Doctor Who (13 weekly episodes with a few two-parters sprinkled in and a Christmas special) and dedicated this Series to having every story bar one (the only bad episode in this series in my opinion) be a multi-parter. This three-part story with Heaven Sent sitting in the middle was due to be an end to a series full of great stories, with my particular highlights being Under The Lake/Before The Flood, The Zygon Invasion/The Zygon Inversion and the pseudo 2 parter The Girl Who Died/The Woman Who Lived. This consistency was so exciting to see as a long-time fan of the revival as the previous years had been anything but consistent in my opinion. Series 6, 7 and as mentioned, 8 were patchy at best with the most underwhelming episodes leaving a much worse immediate aftertaste than they really deserved in hindsight. But it made Series 9 all the more exciting and refreshing when it arrived on screen.
The more recent expectation was set following on from the cliff-hanger in the previous episode. The Doctor, losing someone close to him, is fucking livid and straight up threatening the people who were indirectly responsible for her death. He’s then transported by a mysterious third party to who-knows-where, and that’s where we find him in this episode. One thing that people love to see is the hero show his dark side, and whenever Capaldi did this with his Doctor it was always a treat as some of his Malcolm Tucker rage would slip out.
So, with all that in mind, hearing that Peter Capaldi had been given a script all to himself was such an exciting prospect, let alone without taking into account the concept behind it all: our lead character is trapped inside a living puzzle of a castle, being stalked by one of the most eerily minimalistic, creepy monsters that the show has in its rogues gallery. The Veil: a manifestation of a creepy nightmare The Doctor had as a child – slowly and steadily trudges after The Doctor, never, ever stopping.
“You will notice a second shadow next to yours…”
The interesting premise for this episode is also exacerbated by the mystery from the very start with the mysterious, scorched hand pulling the lever to teleport The Doctor into the prison before dying. Who is this person? One of the many questions we get before digging into Heaven Sent.
“The Doctor will see you now!”
One of my favourite things about this episode is…pretty much everything. The Doctor’s confidence is always fun to watch and him talking to himself seems incredibly natural and never boring or out of place. I remember reading the Doctor Who subreddit’s prediction thread ahead of the release of a preceding episode Before The Flood, in which it was leaked that The Doctor would start the episode speaking directly to the audience. It is very funny in hindsight since people were vehemently against the idea and hated it from its leaked description. But by the time the episode came along and people saw it in action, it ended up being one of the best moments of The Twelfth Doctor. He is a showboater – this is referred to many times in the episode, but it originally starts out as threats to his unseen, undetermined jail keeper. One of the things people love about The Doctor is his confidence in escaping impossible situations, so before the title sequence we get to see his speech to his invisible adversary and we’re already pumped to see him escape from this and figure out who has him trapped.
“I’ve seen you before…”
My next favourite beat that I love to see time and time again is when The Veil begins to follow him. The Doctor and the audience get to see the POV of the creature on the screens all around the castle. Which is a constantly unnerving presence. We then get to see the thing peeking through a window. Its fear done deliciously well, especially when you see The Doctor’s bluster slowly turn to concern.
Here, we see one of the prime examples of Rachel Talalay’s amazing direction for this episode with the gothic lighting of the creature creeping along the wall. When he first glimpses the creature, he mutters the above line which was a interesting hook to fans of the show like myself. Who was this villain? Have we seen them before too? Who has him trapped? Is it a Weeping Angel? Is it The Master? Hopefully not it’s not the bloody Daleks again…
The situation turns worse of course when The Doctor cannot open the door, managing to finagle it open with his selectively-used telepathic abilities. But when the door opens and Murray Gold’s heavy, dread inducing score hits to reveal that he’s stuck behind a brick wall is just too good. It is almost satisfying to watch him scamper around like a rat in a maze with nowhere to go, because finally there’s proof he can’t outwit his way out of everything.
This is probably a great place to expand on the unique score that was made for this episode. Murray Gold looked after the music for the revival of the show and has created some amazing, recognisable themes. However, for Heaven Sent, it’s not difficult to spot that the score for this is entirely brand new and exclusive to this episode. That’s right, an entire disc of the soundtrack is dedicate to this episode. The music is easy to spot because of how good it is. It is the perfect embodiment of the themes and aesthetic of this episode: dread-inducing, curious, gothic and grand.
The bedroom scene maintains a great sense of intrigue, with the portrait of Clara. I believe that during this part The Doctor repeats a second line from a previous incarnation with “Possibly very, very old” from The Tenth Doctor. I think it may have been from The Impossible Planet/The Satan Pit?
“Because you won’t see this coming”
The diegesis sequences in the TARDIS are fun. However, it’s hard to ignore the fact that they were almost a recycle of the mind palace mechanic from Sherlock, another Steven Moffat series. I’m very willing to forgive this though as they serve their purpose really well. When The Doctor jumps out of the window, his appearance in the TARDIS is almost a perfectly timed punchline.
Initially, it’s one of those funny whacky Doctor Who moments. Immediately you feel relief that he escaped as well as some slight disappointment as you think that this is well after the fact of his escape. This moment provides false expectations on the scale of this episode’s adventure. But it’s revealed that this is actually the “storm room in his mind”, and that he’s thinking on how to survive the situation. It is a great way to study The Doctor from his internal perspective, something we don’t often get to see from him directly.
These sequences also do a great job of visualising The Doctor’s grief. The theme of grief in this episode is one I admittedly overlooked, but from what I read online it seems to be one of the big parts that resonates so well with people who also share an emotional connection to the episode. One thing I really enjoy taking part in is the discussion of this episode (well, duh). The Doctor speaking to Clara is a great point about his character: how he can escape most situations using his brains and charisma, but he also needs an audience to his own admission. It is plainly quite sad, as he still imagines that Clara is still there, which I imagine a lot of people do when they too lose someone close to them.
“Can’t I just sleep?”
It is difficult not to micro review every detail and second of this episode, but new thoughts keep arriving. The sequence where he has safely landed in the water is such an amazing relief – The Doctor is still alive! The slow lighting up of the TARDIS to show his internal state is such a fantastic way in representing his brain function. The snippet of the innocent chimes from the very beginning of The Twelfth Doctor’s theme appears here. It’s almost like there are a precious few seconds where he can just rest in between consciousnesses and could go either way between life and death. It’s reminiscent of waking up in the morning before work or school and thinking to yourself if you’re going to go back to sleep or get up and get to work.
The 180° shot of him going from his dreariness in the TARDIS to waking up is an amazingly character centric piece of cinematography for Doctor Who, and soon switching to the discovery of an ocean bed of skulls turns this short, sweet reprieve into a drop back to the threatening situation our main character is in.
A drenched Doctor finds a new set of dry clothes, identical to his, by a fireplace, which he exchanges. The sequence and sounds here are so empowering, almost like is putting his armour back on. I must mention The Doctor’s costume in this episode. This new variation of The Twelfth Doctors outfit appeared in the previous episode, and the burgundy velvet coat is personally my favourite iteration of Capaldi’s costume for The Doctor. It’s another small thing that makes this episode so perfect.
The thing about the castle set is that it’s not entirely nor overwhelmingly creepy. Yes, the design is rough stone and medieval furniture but one could find this a comfortable place to live – however the isolation, emptiness and of course, the horrifying creature constantly lurking after you is something that could throw it off. The lighting at points is entirely normal – the sun through the window is much akin to what you would see through the windows of a castle you go to on a school history trip to a castle in September. It’s not too far from what you would see on a slightly dreary day in England.
Funnily enough, Doctor Who Series 9 and Heaven Sent are the only series and episode that I have merchandise for. I bought two copies of the limited-edition posters that they designed for each episode of Capaldi’s run (one when they were out of stock and got a very long delivery delay and another just for when I can get a good frame for it), the Series 9 DVD box set and also the soundtrack. The music was something the fanbase were clamouring after for Heaven Sent, due to it’s amazing, unreleased tracks but it wasn’t released up until late 2019, nearly two years after it’s original air date. When it was announced, my girlfriend told me they were dedicating a whole disc to Heaven Sent and it did not disappoint one bit. It was very integral in inspiring my Dungeons and Dragons campaign.
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I couldn’t help but update this article after writing the above to mention that I met Peter Capaldi! He was performing Constellations (fantastic play and performances) with Zoë Wanamaker at the Vaudeville Theatre in 2021, and I got a ticket to the show before this cast rotated out to the next two actors (Chris O’Dowd and Anna Maxwell-Martin). I brought my rolled-up Heaven Sent poster designed by Stuart Manning and a Sharpie. I realised they had another performance in a few hours after the show I attended finished so figured my chances were low… but just before I was about to head back home at Embankment station I said “fuck it, it’s worth a try” to myself and went back to the theatre to ask a staff member if they could request Peter to sign it. When I spoke to one of the ushers inside, they politely pointed out that he was talking to fans in the lobby well after the crowd had dispersed! I was so happy to be able to tell him face to face how much of a fantastic actor I think he is and how excited I was to see him be announced as The Doctor – how much I loved his performance as both Malcolm Tucker and The Twelfth Doctor. I also know from all his interviews how polite and gracious of a human being he is, and I think I knew deep down in my heart that if there was one person who would be available to meet fans after a show it would be him – and that hunch was correct!
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Despite the situation, you see The Doctor’s confidence continue to shine through whilst teetering between fear, caution, and excitement as he deduces the purpose of his presence and location. I have to highlight here one of my favourite ‘catchphrases’ of sorts of The Twelfth Doctor, which is that he frames his chatter formally: “working hypothesis”, “proposition”, “question” etc.
“Someone wants me to dig”
The digging scene is another highlight for me – the grim lighting in the garden based at the depths of the castle. The imagery of The Doctor digging is captivating – it is a very uncerebral action: arduous and almost Sisyphean. For someone who relies on their brain and intelligence so much being reduced to digging a hole on their own whilst they are wearing such fancy attire is demeaning for The Doctor. It shows his desperation and how he has been reduced to this to get a fighting chance of survival. This is all without mentioning the clear imagery of a man digging his own grave, with all the obvious connotations arriving alongside it.
As The Veil appears behind the door, Heaven Sent presents one of the few effective jumpscares to ever appear in Doctor Who. It was quite amazing to be scared by the show for once. I had been set up from the very beginning to find it scary all the time thanks to its “hide behind the sofa” reputation, and as you get older you begin to see through it all and lose the fear factor. But to be jumping from my screen when watching under my blanket (oh the irony) at the age of 18 was really refreshing. I think that the fear that this episode presents is not held back and unabashed in how it wants to spook you. This ties into an overarching theory I have that this episode knows how good it is (at least the producers did) and that they did everything they could to make it as amazing as it could be.
To quote mega Tory and Knorr spokesperson Marco Pierre-White:
“Perfection is a lot of little things done right” – and I would say this episode is a great example of this.
Returning to a point on the lighting in the garden, the slow change of hue from dark mist to that of a setting ocean sun with a warm orange bleeding in always communicates to me some kind of time dilation. The Doctor is digging at the same pace, but I think this is representative of the passage of time and the repetitiveness of the task. Almost like a time-lapse, it’s just to show that much more time has passed as he’s continuing to dig his hole than we can interpret from the few seconds we see. Then comes another fantastic shot, the observation of the stars from The Doctor.
“No, no…that’s not right”
I love this line. It’s so simple and unexplained (yet) but builds into the wider message that something is very wrong with the reality he’s in. Something is askew and The Doctor, or we, do not know the full story yet.
“I AM IN 12”
Finding the cryptic message, is intriguing – who left the message? I also particularly love the significance of Room 12, alluding to this incarnation of The Doctor. Matt Smith’s Eleventh Doctor had something similar in the episode The God Complex, with that being an interesting little moment that tied into his wider arc – seeing something similar here was super intriguing.
The second jump scare here is almost comical and returning to the storm room is again, another punchline to the situations he’s ended up in. Here we find out that he needs to confess again to escape. Now, here comes the big thing – fans of the show know at this point that The Doctor ran away from his old planet as a gallivanting galactic explorer ‘because he was bored’ but here it’s let loose in a straight up reveal that he ran away because he was scared. Which is an amazing example of how Heaven Sent managed to be an incredible episode in itself, whilst also leaving a very valuable contribution to the heart of the show’s mythos, shaking its foundation to the core on top of making the overall mystery of the episode even more layered. I think some writers of the series from most recent times would want to take this as a learning experience…
“82 minutes to eat, sleep and work”
With his new mission to find Room 12, The Doctor goes about his work in finding it. This sequence is a super interesting way to approach this creepy and surreal situation pragmatically. It reminds me of a situation I used to imagnie when I was small: I used to balance on a bannister/beam we have at the top of the stairs. It was kind of dangerous, but I always used to imagine that I were suddenly transported to a situation where this beam was balancing far into the sky and I was the only person on it: how long would I last before I would fall off? The searching for Room 12 sequence gives me a similar feeling – an impossible situation that could never happen, but hypothetically, how would you go about solving it?
One of my particularly favourite details of this is how The Doctor, someone with an impeccable sense of time, counts the seconds on his hand by tapping something or clapping against his palm. It’s also a good time to re-establish the rules of the scenario, as although this is a complicated situation, the episode respects its audience enough to not hold their hand too much, but to also explain the concept sensibly.
“Forever?”
His thought on his reality and how long he will have to survive like that hits him like a ton of bricks whilst he is enjoying some soup, which is very realistic in a way. Sometimes you will just be falling asleep or doing something normal and get hit by some dreadful, existential thought. The silhouette against the orange light, the dripping of the soup as he freezes to think, and it finally sinks in.
The ‘BIRD’ mystery, the mysterious skulls – what is this all about?
“A lure and a trap”
I have to say, one of the most fantastic and haunting bits of the episode is when The Doctor finds Room 12 and figures out what he must do to open it – confessing again. The slow fade of his face over the skull he found – just incredible. The symbolism is almost palpable. I would fucking eat it if I could. The accordion hopelessness in the score frames it perfectly.
The problem becomes even more complicated when The Doctor establishes that someone has been moving the stars. It implies the problem is much bigger than what is contained here.
The mention of the Hybrid here is something that I don’t feel hurts the episode but ties it super well into the overall arc of this series. Every series of Doctor Who has a buzzword to tease the finale of sorts or something that is on its way. Bad Wolf, Torchwood, Vote Saxon being the most prominent for a lot of views of the revival series. For this series ‘hybrid’ was a recurring phrase and theme that a lot of the fanbase noticed.
Heaven Sent to me is a case of Doctor Who at its finest, it is an amazing snapshot of the best of the show. I often got friends to watch it who had dropped out of following it for a few years, and it is always an episode I bond with people over how brilliant it is. I would even go as far to say that it is the best episode of Doctor Who in its entire run. Both the concept and the execution are handled exceptionally.
I like to think of a hypothetical situation where I’m showing someone Doctor Who for the first time, and proudly presenting this episode. In a way, the fact that this episode knows how good it is, really benefits itself. It has no ‘Previously…’, it doesn’t rely too much on exposition of previous concepts, it is interesting and a perfect summation of the extremes this show can go creatively.
The Hybrid part here doesn’t even ruin this situation that much, as it is explained well by The Doctor, again playing into my theory that this is an episode that the producers knew would stand incredibly well on its own. The Doctor’s third confession also keeps peeling back layers of his character that the audience never knew about, again maintaining the intrigue.
The steady entrance into Room 12 is so beautiful. The lighting at the end of the hallway, the steady corridor…it is one of the most gorgeous sequences of Doctor Who I’ve ever seen. It’s simple composition – the precarious steps taken by The Doctor as he approaches the light, Murray Gold’s steady score following every step and second he claps on his hand. The silhouette of the main character examining his surroundings. The sonic sunglasses, his replacement gadget for this series, also seem perfectly in place and they even serve an amazing dramatic purpose when he takes them off in an awe filled inspection of what is at the end of the room.
The impossible task he is thrown in front of is, once the reality sinks in that it was always a lure and a trap, that he is going to die or give up his darkest secret. It is haunting. It is sinister. It is cruel.
And then, the realisation of the significance behind ‘BIRD’.
The zoom into his face, the look of sheer existential horror on The Twelfth Doctor’s visage. Incredible. Peter Capaldi has a profound talent for being emotive with his face. We see the more furious, self-loathing and desperate side of The Doctor as he thinks to himself about giving in. This monologue is so beautifully written, as the audience understand it one way when they watch it for the first time – they see frustration and rage The Doctor has for himself, for letting Clara die, for having to always be the one who has to bear the pain and keep fighting. The grief, the exhaustion, the frustration. When you watch this episode again (and you will) you notice that he realises the entire, awful truth about the scenario he’s in at this exact point.
After a pep talk from Clara, which might I say is perfect – the direction from Talalay – the way Clara’s hand departs the frame, is so subtle, tasteful, and sweet. It is a brilliant illustration of letting go, remembrance and losing someone, in an amazingly simple gesture.
This episode still has so many surprises for us. You feel like this is the part of every story where The Doctor overcomes it with his brains and brilliance. He starts punching the wall. The Veil keeps creeping closer, with no other exit. Is the wall a feint? Is it not real? Will he punch his way through after a few times? Why isn’t he hurrying up? Come on Doctor, you can do it! Like Clara, said, how are you going to win?
The dynamic imagery of The Doctor punching his way through a wall a thousand times harder than diamond. Again, the symbolism needs no explanation. The triumphant music of his theme rises. He starts reciting a story for another great Doctor speech and then…The Veil gets him, and agonisingly reduces him to the floor in pain. It disappears, after its job has been done. We see our hero, our favourite character – dead? The Doctor never dies, ever, he never loses?!
This is probably the hardest part of the episode to watch. Because we see him at his absolute low point. Defeated and on the verge of dying. In constant agony, exactly a day and a half away to be precise. The make-up and costume department need to be commended here. The Doctor’s charred clothes and flesh being seen up close as we see our hero crawling back in pain throughout the entire ordeal is discomforting, even leaving footprints of burnt residue…it pushes the limits of how gruesome Saturday night TV can be. The truth starts appearing bit by bit – with The Doctor’s monologue in the TARDIS as the lights steadily come flickering back on.
“when I first got here…7000 years ago’”
None of what he is saying makes sense. How has he been here for such a long time? He would have memories of it? Capaldi’s acting as a tired, dying Doctor is so sad and amplified tenfold by the music. We know the rules of this world, and the truth is revealed by the teleporter. The above line muttered by a dying Doctor is so jaw dropping and mind bending. We are slowly realising the truth, and as The Doctor burns himself – committing suicide so the next iteration of The Doctor can be copied out of the machine and made to suffer the same ordeal to progress out of it is tragic, sadistic and it’s so fucking gripping. The fucking heartbreak in Capaldi’s voice with the bomb of a line “How long can I keep doing this Clara? Burning the old me, to make a new one…” …and then TARDIS lights out.
Dead.
The next sequence of Doctor Who is heralded by many, including myself, as one of the best sequences of the show full stop. We see nothing new, just the events of the past hour. We start from the beginning again. We see the same speech, the same badass escapes. Now all in the knowledge that The Veil has seen this a near infinite times before. The first time we see the sequence, we all start to realise the reality of his situation. He is repeating himself, grasping the dust of his previous self. Again, and again, and again, and again and again….
All those skulls he finds which fall into the ocean are The Doctor’s skulls. Those clothes were The Doctor’s clothes. His deductions on how long he has spent doing this go further and further: Twenty million years into the future, 52 million years, nearly a billion years, well over a billion years, 2 billion years…I remember gasping as it arrived in the later echelons.
The best thing about this sequence is that it’s deliberately overlong. It hammers in the message repeatedly like a folded, agonising puff pastry. The editing perfectly communicates the repetition and existentially arduous nightmare our main character must endure.
A major part of what makes this sequence so perfect is Murray Gold’s The Shepherds Boy. This track did not have a name until the release of the soundtrack, but by god is it phenomenal. The start with the steady sweeping strings, almost as though it is the score to a dark fairy tale. A small instrumental note I have is the introduction of the woodwind, in my head representing the bird in the story The Doctor is telling a la Peter and the Wolf. The melancholy tone of the whole song just makes your heart ache as the time reveal goes further and further. Turning it from an agonising revelation to a heroic, triumphant accompaniment to an audio-visual testament to strength, overcoming adversity and resilience – ending on an epic, victorious note.
The cliff-hanger is straightforward, but also super exciting as a fan of the show. The Doctor having escaped and being back on his home planet had HUGE ramifications for the next episode, and the reveal of who The Hybrid is was jaw dropping. Not only does Heaven Sent have an incredible concept for the main portion of the episode, but its cliff hanger is also excellent as well. The really satisfying thing about it is how isolated it is from the other two parts in its arc. It stands super well on its own purely with the contents of the episode itself and is not let down even by any new information in the preceding or following episodes.
I remember I had the biggest fucking smile on my face when The Shepherds Boy sequence was happening because Doctor Who had never made me feel this way before – a story that was so heart-breaking and tragic – a story that had put it’s main character through so much pain, yet managed to demonstrate the elemental strength of The Doctor in his spirit to overcome the grief and very nightmarish situation he had been forcibly thrown in. To see Doctor Who treat the character like this all whilst providing an incredibly slick, clever, nuanced, intelligent, self-contained, well-acted, edited, directed and scored science fiction story which respected its audience so well – just felt absolutely fucking fantastic.
I really do have to single out the performance from Peter Capaldi here. To see one of my favourite actors finally reach the zenith of his performance of The Doctor and elevating the character to a whole new level: it felt dreamlike and impossibly amazing. The way he commanded the screen for the entire episode is nothing short of brilliant. I often do a thought experiment on imagining any other Doctor doing Heaven Sent, and really struggle to see anyone other than Capaldi’s interpretation of the character do it justice.
For me it was the sensation that Doctor Who had achieved this level of quality, after so many years of coming close to absolute greatness and missed potential– to come out with a story like this, universally lauded by the fanbase and critics alike. It felt really validating. There is no other word for it. I know people love to shit on Steven Moffat a lot, but this episode really helped me understand that I believe his skills as a writer are so much better than that of a showrunner. Give him an adequately scaled, interesting concept and he can run with it and knock it out of the park.
I loved being a Doctor Who fan so much the week after this episode aired, as the entire subreddit was buzzing for it. It felt so good. It’s something I feel every single time I rewatch it, and no matter how many disappointing episodes that followed, no matter how many times the show gets ‘ruined’ in its future, I will always have Heaven Sent, one of the most wonderfully crafted episodes of television to ever grace my eyes.
minutiae+musings 