Take some deadly snowmen, an old-ish very Scrooge-like gentleman, the TARDIS parked on a cloud, a girl who looks just like Clara Oswin, Strax, risen from the dead, and a hint of Christmas. These seems to have been the basic ingredients for this year's Christmas-treat 'The Snowmen'.
And do you know what I loved most about it? That after a few minutes you
forget that it's set at Christmas. Don't get me wrong, I don't think that Christmas specials are bad in general, it's just that 'Doctor Who' is not really famous for delivering great Christmas episodes. Yes, I know, last year's 'Christmas Carol' was not bad either (come on, flying fish!), and I really love 'The Runaway Bride' (Cathrine Tate vs. giant spider), but the episodes we get for Christmas have either nothing or not much to do with the general storyline, or they are so story-driven that without some previous knowledge it's not easy to understand what's or why it's going on.
But this year things were different. Because although 'The Snowmen' may be kind-a important for season 7's second part, the storyline itself was pretty straight forward. And in addition Moffat also offered some highlights for us hardcore-fans: in this episode we didn't only have the chance to meet the new companion for the first (well, second) time (oh, and she's great), but we also have a new TARDIS interior (a bit too retro-stylish if you ask me) and a new opening theme, about which I haven't made up my mind yet... on the one hand it's great that they've made it a bit shorter, but I'm not sure about the new pinkish touch they added to the time vortex. Well, we'll get used to it; it's not as if we had another option.
Still, if I had to chose one thing I love about 'The Snowmen' then it's the clever, clever plot with all those even more clever side-remarks (I just say one word: Pond). Sure, I should give a few minus points for involving Sherlock Holmes in at least 2 possible ways (Strax, the Lizard Lady and her wife mimicking the idea behind Sir Doyle's stories, and the Doctor's personal interpretation of the famous fictional detective, which, however, was almost so bad that it's possible to forgive that second blunder). Plus, I'm not too sure what the Big Moff wanted to achieve when coming up with the idea of 'the worm'. Am I the only one who had to think of it being a Men In Black copycat-action? And these were by far not the only 'genres' of which Moffat borrowed a few elements. The invisible staircase and the TARDIS parked on a cloud would have perfectly fitted into any Tim Burton film; and I can't help but LOVE the fairy-tale-y touch it gives the whole episode.
Another thing which has been going on for a while now, but on which I haven't commented yet, is the way Steven Moffat has been writing the Doctor. That Matt Smith is great as the Doctor is not a matter of discussion any more. The 11th Doctor is an expert in breaking hearts, his own, and ours. But he does not seem to be the absolute centre of the stories any more; sure, he still his, but only at second glance. At first glance, 'The Snowmen' is the story of Clara whose death helped fighting the snowmen. This time the Doctor isn't able to save her, it isn't even him who saves London/mankind/Earth in the end.
Nevertheless, maybe herein lies the most brilliant element of the episode, namely, the method with which Moffat tries to seduce the audience to watch the new season. Just as last season, we have again the notion that whatever we saw cannot be true as no-one can die twice* (right, Rory can; but then again he was once a Roman plastic Centurio and the universe seems to have acquired a special set of laws for him). Or do you remember the first time we met River? Moffat does not tire of re-using the same old story-telling trick. Only that the whole thing seems to be a bit more elaborated#. At least this time the mysterious 'she' becomes his full-time companion so we won't need to wait several months and years to find out more about her. It seems at least Moffat got what he wanted for Christmas: I can't wait to find out more about her.
_________
*'The Impossible Astronaut'
# Or am I the only one who is a bit disappointed what Moffat made of River's story. I'm not saying that I don't admire him for it, I just can't help feeling that it lost its sparkling towards the end, something which cannot be saved by an overly complex storyline.
And do you know what I loved most about it? That after a few minutes you
forget that it's set at Christmas. Don't get me wrong, I don't think that Christmas specials are bad in general, it's just that 'Doctor Who' is not really famous for delivering great Christmas episodes. Yes, I know, last year's 'Christmas Carol' was not bad either (come on, flying fish!), and I really love 'The Runaway Bride' (Cathrine Tate vs. giant spider), but the episodes we get for Christmas have either nothing or not much to do with the general storyline, or they are so story-driven that without some previous knowledge it's not easy to understand what's or why it's going on.
But this year things were different. Because although 'The Snowmen' may be kind-a important for season 7's second part, the storyline itself was pretty straight forward. And in addition Moffat also offered some highlights for us hardcore-fans: in this episode we didn't only have the chance to meet the new companion for the first (well, second) time (oh, and she's great), but we also have a new TARDIS interior (a bit too retro-stylish if you ask me) and a new opening theme, about which I haven't made up my mind yet... on the one hand it's great that they've made it a bit shorter, but I'm not sure about the new pinkish touch they added to the time vortex. Well, we'll get used to it; it's not as if we had another option.
Still, if I had to chose one thing I love about 'The Snowmen' then it's the clever, clever plot with all those even more clever side-remarks (I just say one word: Pond). Sure, I should give a few minus points for involving Sherlock Holmes in at least 2 possible ways (Strax, the Lizard Lady and her wife mimicking the idea behind Sir Doyle's stories, and the Doctor's personal interpretation of the famous fictional detective, which, however, was almost so bad that it's possible to forgive that second blunder). Plus, I'm not too sure what the Big Moff wanted to achieve when coming up with the idea of 'the worm'. Am I the only one who had to think of it being a Men In Black copycat-action? And these were by far not the only 'genres' of which Moffat borrowed a few elements. The invisible staircase and the TARDIS parked on a cloud would have perfectly fitted into any Tim Burton film; and I can't help but LOVE the fairy-tale-y touch it gives the whole episode.
Another thing which has been going on for a while now, but on which I haven't commented yet, is the way Steven Moffat has been writing the Doctor. That Matt Smith is great as the Doctor is not a matter of discussion any more. The 11th Doctor is an expert in breaking hearts, his own, and ours. But he does not seem to be the absolute centre of the stories any more; sure, he still his, but only at second glance. At first glance, 'The Snowmen' is the story of Clara whose death helped fighting the snowmen. This time the Doctor isn't able to save her, it isn't even him who saves London/mankind/Earth in the end.
Nevertheless, maybe herein lies the most brilliant element of the episode, namely, the method with which Moffat tries to seduce the audience to watch the new season. Just as last season, we have again the notion that whatever we saw cannot be true as no-one can die twice* (right, Rory can; but then again he was once a Roman plastic Centurio and the universe seems to have acquired a special set of laws for him). Or do you remember the first time we met River? Moffat does not tire of re-using the same old story-telling trick. Only that the whole thing seems to be a bit more elaborated#. At least this time the mysterious 'she' becomes his full-time companion so we won't need to wait several months and years to find out more about her. It seems at least Moffat got what he wanted for Christmas: I can't wait to find out more about her.
_________
*'The Impossible Astronaut'
# Or am I the only one who is a bit disappointed what Moffat made of River's story. I'm not saying that I don't admire him for it, I just can't help feeling that it lost its sparkling towards the end, something which cannot be saved by an overly complex storyline.
