Run You Clever Boy and Remember Me.

When you are a time traveller, 
 there is one place you must never go...

Ever since the Mighty Moff started his reign I have been waiting for a plausible, non-timey-wimey finale written by him, one which did not involve rewriting all of history, the end of civilisation, or that of the Doctor, or all three of these. And what do we get? "The Name of the Doctor" in which Moffat rewrites the Doctor's past. Twice. He kills him. Several times. And whole stellar constellations come to their end. Nevertheless, I have to say that this was the least timey-wimey, most plausible and, most importantly, best finale I've seen for ages. Because it made sense.

Sort of. Moffat made an effort to come up with brilliant explanations for several things. E.g. how the Paternoster Gang, post-library River and Clara could have a conference meeting regardless the obvious restrictions set by time and space. Even though, let's not really start to go into that matter, because I don't know why it was easier for them to get an actually dead River to attend that meeting, than a still living version of her...

Besides, there may be fans who'd love to have an explanation how post-library River can be the Doctor's  imaginary friend (is the TARDIS linked to the Library's data core, and if yes why is the Doctor (and Clara) the only one who's able to see her?) But I'm willing to accept that anyway, because him not wanting to say goodbye to her was heartbreaking. If there's one scene perfectly summarising their relationship, or the Doctor's life, then it's that one. Because he does hate goodbyes and endings. 

And I'm not sure if it was really necessary to use the *recent* TARDIS interior design for the Doctor's tomb. Or more importantly, how did the Paternoster Gang end up at Trenzalore? How did they time travel? Can the Great Intelligence and his Whispermen time travel as well, or have they been simply waiting for the Doctor to turn up at Trenzalore one day? Or what was the Great Intelligence's actual motivation behind destroying the Doctor's life? Why does it mean 'peace at last' for him? I hope Moffat will come back to these snippets. Maybe, and this is a very bold guess, he's the one responsible for the exploding TARDIS in "The Big Bang", something which is still waiting to be tackled.

At least, thank you for not revealing the Doctor's actual name. When they were trying to open the tomb I was worried for a split second... For a moment I thought the code word was 'please'. Now that would have been very didactic.

But luckily, "The Name of the Doctor" also gives us some answers. We find out how Clara can be the impossible girl: she sacrifices her life, scatters herself over time and space to be there and save the Doctor whenever it is needed. BTW, the flashbacks actually made me shiver. They were brilliantly done.  Clara's conversation with the Doctor who's just about to steal, sorry, borrow, the TARDIS was a masterpiece. I've no idea how they did that. But it was top notch.

However, with the Mighty Moff, each answer comes with several questions. Because, if Clara rewrites the Doctor's history, it's a bit strange that he hasn't noticed her sooner. Sure, Clara says he can't always see or hear her, but this statement does not *really* explain why it took him so long to actually notice her being there. Well, then again, I guess this is the best possible explanation Moffat can offer us, and we'll have to take what we get. And let's not start to think about how the Doctor could save Clara by entering his own timestream. It worked, somehow; that's another thing we'll have to put up with, I guess.

But there is yet another point. Clara enters the timeline of a future Doctor, one who will die at Trenzalore. Therefore, it's logical that she claims that she's seen all of him. The only thing which is not logical is why "all of him" should only include "11 faces" as she puts it. Time Lords can regenerate 12 times, which equals 13 different bodies, so, even with the "dark pre-Doctor" form the cliffhanger there should be one regeneration left. But there is not, according to Calra, which means it has to be the 11th Doctor who dies at Trenzalore... I know, time can be rewritten, and we have more exciting things to worry about at the moment, but all of a sudden, the last, final, ultimo episode of 'Who' seems to have come a lot closer.

All in all, this was certainly the best finale I've ever seen. If somebody has ever doubted the Big Moff's abilities in the past, "The Name of the Doctor" proves that he deserves his place. As much as I hate the fact that he's messing with the Doctor's past, I'm glad that it's him who's carving his ideas about it into stone, and not someone else.

Now, all I need is to borrow a TARDIS myself, because the Mighty Moff can't expect us to wait 6 months till the next episode. That would be torture...

Corruption of the Best Is Worst of All

To be honest, 'The Politician's Husband' is not one of those series which would have made it straight to my 'must-watch' list. It's about politics, power-games plus most of my friends compared it to 'The Borgias', all things which I'm not really into. Nevertheless, I sat down, and watched it, and... wasn't hooked. Sure, there were a few interesting and worth-watching bits in every single episode;  well, there were also things which made me cringe, and I guess that was their intention in the first place... And I'd have to lie if I said that at times it wasn't interesting. Actually, the best part of it was the very last scene, which wasn't only a very well put surprise but also added an additional twist to the intriguing story. And is it just me who felt it odd that in the very last seconds he didn't at least fake a tiny smile at his wife? Still, this was a 'nice' end - not without being a bit stereotypical after all, but maybe just as 'nice' as things could have become in the given circumstances.

So all in all, 'The Politician's Husband' is not a bad piece of telematic art, it's only something about which I wasn't that enthusiastic  to watch. It is not bad, but there are certainly better ways to spend 3 hours of your life.

Business As Usual...

"The Crimson Horror" is a picture book example what it takes to write a good episode of 'Who': a brilliant story, a mad, old woman, a creepy pre-historic monster and the Paternoster Gang. Come on, just give them their own spin-off. IMHO they have more potential than 'Torchwood' ever did. So what is the BBC waiting for... Oh, right, someone who'd take over that time- and budget-intensive project. What is Russel T Davies up to these days anyway?

But back to the episode. Basically, it's what you'd get if you combined Poe, sci-fi and Sherlock. It is a nice romp, there are a few excellent nods to the past, and the future (TomTom), plus some scenes looked as if they'd belonged originally to a proper horror film. And somehow Gatiss managed to get North England in 1893 just right. It felt as if they'd been there. This is actually the first non-Moffat episodes of season 7b which holds the balance between an interesting story, witty dialogues while not shunning to add some seriousness to it (Ada calling the Doctor her 'monster' was intentionally ambiguous, I guess). Plus, we got an additional moral lecture: you don't need to be perfect to sparkle. Oh, and did anyone else think it to be odd that the Doctor was not 'chosen' to live in Sweetville. Apparently he's not among the "best and the brightest" according to Mrs. Gillyflower...

So, next week, it's Neil Gaiman's turn, and looking at his "The Doctor's Wife" it has the potential of being something rather awesome. My dear, I really hope it's going to be good, because after "Journey" 7b needs something to improve statistics.

The Oldest Story in the Universe

To you, I haven't been born yet, 
and to you, I've been dead 100 billion years

Maybe my standards are getting low, it's either that, or this was an unnecessarily rushed, bust still rather nice filler. Even though, I have to admit some elements of the plot were a bit strange at times... Like why did they need Emma to open that portal (or whatever that was) to the pocket universe if they had the TARDIS? How did her psychic gift influence it so that it could pick up the Doctor? Who knows if it couldn't have worked without her... Oh, and the Whoniverse has pocket universes now? Aren't parallel universes and bubble universes enough? Do we really need to have pocket universes too? Well, apparently yes, although IMHO this is the most unnecessary complication of the already more than just complex universe-system of 'Who'. But never mind that, 'Hide' was nevertheless rather lovely. 

Do you remember that one of my first objections about Clara was that she's the first companion who does not make the Doctor actually dealing with his past? Well, this time it's the people they meet who take care of that. The Professor mentioning how he feels responsible for the lives he took and how he's trying to live on with that burden felt almost as if the Doctor had been looking into a mirror.  Because the same things haunt him too, in a way.

Additionally, this episode was not only about ghosts, or love, but Clara, and that she is to the Doctor the only mystery worth solving. The scene in the TARDIS right after Clara realises that she just witnessed the birth and death of her home planet may have been the most important one we've seen so far. Not only because of the obvious contrast between the Doctor's and her feelings. He has seen the death of several planets a thousand times, to him it's just another house which gets pulled down. To him that's how time works. To her it's home. This is the first scene in which she actually notices that he sees the world differently than she does and that time is not the same to him as it's to her And finding out if her body does lie out there buried in the ground (and if yes, how often) is a question he'd love to know as well.  If it weren't for Clara (or one version of her, anyway) he would probably still spend his days in Victorian London, inside the TARDIS which he has conveniently parked on a cloud. To him she is just a distraction, or maybe a bit more than that... But I'm not too sure if she's supposed to know. After all, it's not a too flattering remark. 

And then there is still that funny thing about Emma Grayling, which is the reason why the Doctor and Clara end up messing with pocket universes in the first place. He wants to know her opinion on Clara, instead she tells Clara her opinion on the Doctor ('Don't trust him,  there's a sliver of ice in his heart').

Anyway... next week it's the Doctor's adopted home being destroyed, with Clara still inside the TARDIS. In fact, looking at the feedback 'The Journey to the Centre of the TARDIS' has received so far, it might be one of the most anticipated episode of this season. So I for my part am looking very much forward to it.

Resurrecting the Ice Warriors

Is anyone familiar with Alien, the sci-fi horror film? This week's episode felt a lot like that, only without the really creepy chest-bursting alien life-form, and the cat. But everything else was pretty much the same: the ridiculously bigger on the inside submarine, the Ice Warrior killing crew members and you didn't know who's next... Thinking about it, IMHO it felt almost as if it had been something written for 'Torchwood' and not 'Doctor Who'.

Leaving the rather scary side of it behind and looking only at its science-fictional qualities, I have to say, that 'Cold War' is one of the most old school sci-fi episodes I've seen for ages. And this is a compliment. Because back then stories did not rely on CGI but an excellent plot with a lot of (necessary) explanations and almost no plot-holes (which is not exactly true about the old series, but good sci-fi in general). And that is exactly what Mark Gatiss offered us this week. In fact, I can't remember the last 'Who' episode whose plot  did not have a lot in common with with the famous Swiss cheese. Gatiss even took the time to explain why the Doctor could not use the TARDIS as a means of escape. And it's great that he used something form the classic stories (the Hostile Action Displacement System, HADS) to do so.

What I do not get, though, is why the fact that the Professor turns up singing Ultrafox's Vienna stops the Soviets blowing up the world (again). But this is only a minor remark. Everything else is more than just plausible, the Professor finding a creature while drilling for oil on the North pole, the reason why he is there in the first place, the way it comes alive, the Ice Warrior's emotional reaction after spending thousands of years in hibernation. Besides, I love the pun created by using the Cold War as the background for the episode in which the Ice Warriors get some sort of resurrected. This is something only 'Doctor Who' allows you to do.

A Tear-y But Not Unhappy Ending

It's good that Shakespeare didn't know about the (im)possibility of timetravell, otherwise, 'The Angels Take Manhattan' is pretty close to what his Romeo and Juliet would have looked like, and, it would have also made about as much sense.

But let's start with the praising. It is needless to say that if you were not touched to tears by this telematic masterpiece, then you should take care because you may be made of a material which might come in handy for the Weeping Angels. What worked with the Statue of Liberty, might work with you as well. Even though, to be fair, Moffat failed to tick off every emotional scene possible of his to do list, after all, after promising to take care of the Ponds last week, the Doctor has yet to tell Mr. Williams the sad news, namely, that he is never going to see his son and daughter-in-law again*. Except if the Doctor gives him a lift, even though I guess that this idea was dismissed for obvious drama-lessening (and not science-fictional) reasons.

Now, back to this season's mid-season final, which is, among other things, an homage to Rory's two main abilities, namely, waiting and dying. Here he got to do it (sometimes) even simultaneously: he was waiting for his death. Besides, he made sure that nobody will ever die more often in a single episode.

On a more serious level, the plot displayed one of the reasons why Moffat would win any script-writing competition over RTD, he made clear that he is not taking things too seriously. Only the Mighy Moff can come up with the idea to include several jokes into what would be Romeo's and Juliet's dying scene in Shakespeare's equivalent (the moment where Rory realises that he has to jump off the building) without ruining the moment. First, he makes Rory claim that the Statue of Liberty got impatient waiting for him visiting, and secondly, he, the Big Rory Pond cannot jump off the wall. I love him, well Moffat, for that scene alone, and then the following dialogue in which Amy persuades him not to jump without her is the cherry on the top. Actually, those few minutes are maybe the best written and acted moments in Who. Give Darvill an Oscar, you know what, give both guys, or even better, all three of them, one of those shiny statues...

Still, as with many of Moffat's twisted storylines, there seems to be a label on it: For Enjoying Only. As soon as you start to think about it, its magic magically disappears. And I'm serious, do not even start asking the question how it should be possible. I'm not sure if Moffat knows, even though he will certainly say otherwise. Like, maybe most importantly, since when has the Doctor not been able to visit, explore, mess with, or even drink tea with a fixed point in time if it serves a purpose. Or is there something terribly important I have been missing since 'The Wedding of River Song'? Well, yes, we all know that it is a rule, but especially Matt Smith's (BTW, again fabulously acted) Doctor is proving not to be too picky about that specific law. The risk of blowing up whole NY seems to be a risk the guy from that other season (who faked his own death, erased his timeline and created a fracture in the space-time-continuum which was big enough to allow dinosaurs to roaming the streets of London, and Dickens giving a live interview on BBC Breakfast) would have taken...

This ties in with the 'Oh my dear, it is written in a book, and you know what's worse, I've already read it' rule. Knowing someone's future does not create a fixed point in time either, well, it kind of does because Moffat says so, but why did that not apply for the Doctor dying at Lake Silencio? (OK, I know, time itself fell, has fallen, falls (?) for the Doctor's Teselecta-trick, but how stupid can time really be?).

Not to mention a few other, seemingly rather minor things. Right, I can just about believe that almost nobody in NY is aware of the fact that the statues are moving, but someone has to notice that the Statue of Liberty has gone for a walk...

Sadly, it is because of such (at times unnecessarily) missing backup-stories that the plot feels a bit hasty, as if Moffat would have been too busy to give it a second thought. Do not get me wrong, I still, think this is the best farwell episode I've ever seen, nevertheless, I cannot help but have the feeling that with a bit more effort he could have got it all right, and not just 95% of it.

But anyway, it seems we have to take such small discontinuity errors (or the pseudo-physical universal and everything overriding rule of 'because Moffat says so') for granted, otherwise, we would have never got into the delight of the Pond's heartbreaking farewell which is on the best way of becoming a memorial of Doctor Who's core message (never be alone) and provides the two of them all in all a tear-y but not completely unhappy ending.

*EDIT: Oh, I see they have taken care of that. Still, I think it should have been the Doctor's job to deliver the message, even though, I have to admit, this way it was almost more heartbreaking.

Dinosaurs on a Spaceship

Even though this may seem to be the most obvious set up for a usual Doctor Who episode I guess there are not many people who can write an episode about dinosaurs on a spaceship with the story making sense and including about as much humour as if it were written by the legendary Douglas Adams. Admittedly, the story has certain flaws: most significantly, I am not sure if I like that the Doctor decides to kill Solomon. Sure, that space-trader is a real baddy, after all he committed genocide to get hold of the Silurans' 'bounty' but does that make his death more acceptable? The obvious answer is yes, even though the Doctor would have been able to come up with a different, less deadly punishment, as that is what he seems to be famous for (e.g. 'Human Nature', 'School Reunion', come on, in 'Daleks in Manhattan' he was even willing to negotiate with the Daleks!)

But otherwise, loved the Dinosaurs, loved Rory's dad, loved the golf balls. And if there wouldn't have been the short scene between Amy and the Doctor ('You'll be there till the end of me. - Or vice versa') this could have been the most enjoyably shallow episode of all time. This way, it is the most enjoyably shallow episode including a short scene which tries to add some depth to it by dealing with the topic which the Doctor has been avoiding ever since a companion set foot into his TARDIS.

So all in all, 'Dinosaurs on a Spaceship' is an episode which promised to be fun, and it seems that was also the thing on which Chibnall was focusing, even though a few historians may be less fond of his answer to the lack of records referring to queen Nefertiti (Nefy's) later years... But never mind the historians.

Remember...

Now, that was what I call an almost 5o minute long teaser for season 7. Even though I'm not too sure about the soon-gonna-be-the-new-comapion's name: Oswin Oswald. Seriously? And, doesn't the whole thing seem to be familiar: the Doctor witnessing the death of a future companion, even though technically this time it does not necessarily need to be the future death of a future companion... besides, the Doctor does not seem to know. Or is it just me who thinks that there is something haunting about Oswin's final words 'Run you clever boy and remember'. Admittedly, there is a tiny possibility that this is the way how she will die after all. Nevertheless, let's not forget the one and only lesson we should have learnt from season 6, namely, not to take anything for granted, especially when it comes to story archs crafted by the Mighty Moff.

Talking about story archs. Is the Doctor fighting the Dalek's masterplan of turning everybody into Dalek-protptypes what this year's season is going to be about? Could be. And I have the feeling that the Dalek's not remembering their archenemy may have also some other additional, yet unexplored consequences than them chanting the two words for which this series has been famous...

However, the episode also operates on a different level. The fact that the Doctor is some sort of responsible for the Ponds almost breaking up gives an interesting touch to the story, just as the constant misinterpretations of eggs-termin-ate (which may be syntactically a perfect Japanese sentence BTW). Not to mention the sad irony of a 'I'm human'-chanting Dalek-human (or human Dalek, after all?) who indirectly becomes the reason why the Doctor manages to escape his future most likely cause of death (i.e. death by Dalek) ones more.

The only slight downside I can think of is the lack of one-liners, something Moffat is famous for. Then again, the primary purpose of 'The Asylum of the Daleks' seems to have been to present a mouthwatering appetiser of season 7's remaining episodes, and it certainly did not fail to accomplish that.

The Big Moff at his Best...

...so far.

It shouldn't be hard to notice that this time it was the Big Moff's pen which brought 'Time of the Angels' to paper.

I have to say I don't know whether he has planned this all along (good, I guess it is safe to say we know he hasn't) but this was a great combination of Moffat's best creations, River Song and the Weeping Angels. Additionally, Moffat lives up to our expectations by writing a great story with an awesome cliffhanger. Fans can't wish for more, can they? (Hold on a sec, whichsing for more is our  number one privilege, so yes we can...)

Anyway, I guess I don't need to point out that IMHO this was very likely the best proper episode so far. I like the way River is teasing (and at the same time not-teasing) him about his future. Plus, whatever she has told him when they were , it was surely not very romantic and the Doctor seem to have reasons not to trust her with his life, unlike her, as she isn't missing a chance to point this out. Further, she says she has pictures of all his faces and although we don't really know how far that really goes, we have good old Doctor Who school-book reasons to assume that all in all there can't be more than 3 portraits of the Doctor in that diary.

BTW, I think this was the first time the Doctor has bit a companion of him. I hope Timelords aren't venomous (lol).

Ok, I bet that it's not only me who want to find out what that incredibly stupid and dangerous idea is going to be...

'The Lodger' Part 2

I hope Moffat makes Craig a once-per-season companion. I wouldn't be the one complaining.

Anyway.One of the first things you notice about 'Closing Time', is no, not the Doctor's coat, but that Karen Gillan and Arthur Darvill are still in the credits. For a reason, as we find out several minutes and a near-death experience of Bitey the cybermat later. But never mind the two (ex-)'companions', because this time the Doctor has a new 'partner': good old Craig trying to spend a few days without Sophie but Stormageddon/Alfie the baby, alone, without anybody's help, least of all the Doctor's who turns up to say hello, or rather good-bye, however, things do not go exactly according to plan. So, instead of visiting the Alignment of Exedor the Doctor lives an average parent's life for a few days dividing one's time between working in a job (inclusive name badge!), playing the super-hero for one's own and optionally friend's offspring, babysitting, chasing Cybermats and fighting Cybermen and doing the cleaning at home in between.

Something a few fans may complain about is that again, love saved the day. Even though I hope that this is not becoming a re-occurring mantra, the idea of fighting Cybermen with love, literally, is not that cheesy as one might expect. But talking about cheese; I bet Doctor Who merchandise could make a fortune of Bitey, the cybermat. I'd get one for myself, if they didn't need batteries in real life.

But after about 4o minutes the Doctor's, as Moffat wants us to believe, last romp ends and although this episode does really not deserve it, the last scene is again beating the actual story: Doctor River Song is recruited to kill her love, the Doctor. But who does really think this is the season Moffat's contract for Doctor Who ends? Plus, we know there is a Christmas Special on its way (which hopefully does not have the very xmasy title 'The Ultimate Death of the Doctor', or something along that.) I for my part am just curious how Moffat does sort this timey-wimey fix-point-y mess out in 45 minutes only.

The Doctor's Choice

You should never ever begin with the end, but let's make an exception. Mostly because it did not make my eyes water, although I have the feeling that it wanted to. To be honest I'm a bit disappointed by that because in 'School Reunion' I was not too familiar with Sarah Jane's and the Doctor's common past, nevertheless I did not need to to feel the sadness when he said goodbye to her. And now, in spite of knowing all of Amy's and the Doctor's story, that certain sad feeling wasn't there. The reason for this might be that 'The God Complex's ending feels too much as being part of the plan. It seems the Doctor always intended to drop the Ponds there, not this soon, but he prepared the house and Rory's dream car for them, knowing where and when to find them, when needed. Moreover, with two episodes left, it appears unrealistic to believe that this was really the actual end.

Anyway. There is more to write about than the last minutes of yesterday's story; namely the Minotaur. I've seldom come across a better researched Who-story, and one which also uses the additional background information this sophisticatedly. The way Toby Whithouse turns the Minotaur's story into the Doctor's is a picture book exapmle of how to write good drama. Also the Doctor saving Amy by sacrificing her faith in him was genuinely touching. After all, he does need her all the same. Moreover, I'm glad that we did not see the Doctor's room, because it gives us something to speculate about.

What I'm less sure about are a few other loose ends. E.g. what was that fuss about the goldfish? I have the feeling it was never meant to be there. Or is it secretly called Jim? And why didn't Amy tell the Doctor before he left her that she knew about lake Silencio?
Well, maybe it's just Moffat being really clever and trying to confuse us with a few hints regarding the finale. Even though I'm not too sure about that. IMHO whatever happened in the 8Os hotel has not much influence on season 6's closing episodes.

The Greatest Love Story Gone Timey-Wimey

If Shakespeare had added time-travel to his Romeo & Juliet he could not have written it better than Tom MacRae wrote his 'The Girl Who Waited'.*

Maybe I am repeating myself, but I have seldom seen a comparable emotional episode which was as 'comfortably' cheesy-less as this one. However, I have to admit, that even if this episode is the creation of a genius, am I the only one thinking that Amy asking 'where is she' is not the last scene in the actual script? How can the now-Amy remember that anyway?

But apart from that, thumbs up, after all who can't be in love Amy's and Rory's very own episode?

There are many greatly written moments to chose from, but maybe the most notable thing about this story is how MacRae uses the way the companions see the Doctor as a plot device, something until know only the Big Moff was famous for.

E.g. 'Still, anything beats a fez, eh?' is not only a witty statement, or marks the first time future-Amy laughs in 36 years, but it creates a bond between her and Rory. It brings back all those other memories she and 'her Rory' shared a long time ago, and this may be the moment she starts to give the two of them a second chance.

Another remarkable scene of this kind is Rory's 'You're turning me into you.' which may certainly not be the bit most viewers are going to remember. According to the rules of old-'Who' the companion is not there to criticise the Doctor, even though I know that this also occurred back then. However, in this episode it is the point the story stops belonging to the Doctor and starts being that of Amy and Rory, even though I personally can't imagine the Doctor doing something else in that situation than handing the responsibility of making that choice to Rory. Usually we have the Doctor playing this part, choosing between possibilities and feeling sorry for the outcome because of the situation not offering a perfect solution.

Nevertheless, MacRae develops this idea further, into something we are not unfamiliar with. 'Sometimes knowing your own future is what enables you to change it.' And this is what Amy does, she takes her future into her own hands, even if it means to cease to exist. Well, knowing what happened in 'The Impossible Astronaut' there is obviously more to it than that...

The scene most people do remember, and are never going to forget, is when Amy makes her choice. 'Three Words: "What about Rory?"'. This and begging her husband to keep that door shut, no matter what was my 'Who' moment of this season (up to know), because it is there for only one reason: showing how much she loves him. This Juliet is willing to commit suicide because she knows that after that her Romeo will be able to live happily ever after with the version of the Juliet he should have grown old. Although a part of herself is fighting this idea, in the end she loves him more than herself, what makes her willing to pay the highest price only pure love can pay.

And although I did not have tears in my eyes, I think Shakespeare himself could not have plotted it better than this.
________
*I'm one of those people whose teacher made them read Romeo & Juliet, twice, and I did not really enjoy it. Up to the balcony scene it was ok, but after that I felt like wasting my time...

Let's Kill The Doctor

I guess that was the original title of the recent episode, but it would have been too obvious. After all, Moffat's latest masterpiece was not really about Hitler; who spent most of it in a cupboard.

Actually,
'Let's Kill Hitler' is nothing else but a demonstration of what you can do when you are the one and only headwriter of Doctor Who. Nevertheless, this does not save it from coming pretty close to parodying our beloved series, but let's start with something different first.

It's only fair to admit it has its moments and in addition also the certainly most unforgettable quote of this season: 'I was on my way to this gay gypsy bar mitzvah for the disabled when I suddenly thought, ‘Gosh, the Third Reich’s a bit rubbish, I think I’ll kill The Führer.'

But back to those 'moments'. The prequel is certainly one of the most imaginative one we had this season, come on, you can't open a season much more spectacular than letting the Doctor's companions search for him via crop-circles. Not to mention Mel ruining the effect with a sports car... and with the trio, sry, quartet ending up involuntarily saving Hitler from being tortured to death and beyond by the Teselecta, the champions of justice. And that's when things start to be a bit ridiculous. But only a bit, because it gets compensated by Hitler being locked up in the cupboard, the magnificent quote I just mentioned in the foregoing paragraph and Mel proposing to the Doctor just before she dies.... and regenerates. What brings me to the next point on my imaginary list of random things.

Good, Melody is Mel who is River, only that she doesn't know yet. Or throughout the plot of this episode. And while most of us can live with the unrealistic fact that this is the first time the Doctor learns about his companion's childhood friend's existence (her not doing weddings is not a real excuse) the one really amazing thing about this is that nobody, not even Rory or Amy are too surprised by their daughter's let's say timelady qualities. Come on, when did they exactly catch up on their daughter being less human and more timelord, or on regenerations, to start with. And isn't particularly Rory's behaviour a bit odd?

Another thing which is odd is the Tescelecta. Although we don't know much about River Song, going by their records the fact that she is the one who killed the Doctor seems to maker her a bigger criminal than Hitler himself. Isn't that a tiny bit exaggerated? Or am I just failing to switch off my real-life history lessons?

But the biggest issue is certainly the 'Goodness, is killing you going to take all day?'-part. In fact I'm getting used to the Doctor dying about every third episode.
So she does successfully poison him and he dies a rather painful death, but not before finding out that he is not supposed to die then and there, as on the top of it the 22nd April at Lake Silencio seems to be a fix-point in time. And just after the Doctor takes his last breath River decides to save him, by using up all her regenerations left. So goodbye Berlin in WW2 and hello Utah, although, mark my words: the Doctor won't die there either. Even if Moffat has to (re-)reboot the whoniverse to change that silly fix-point. In fact, changing a fix-point in time may turn out to be pretty handy, Moffat could use it to claim that a few things which happened in the last seasons were changed by that. Not as if Moffat really needed to give us explanations.

All in all, this week Moffat proved again to be the master of timey-wimey stuff, especially timey-wimey love stories. And although he promised us answered, it seems there is at least one question remaining open to speculation: just who let Hitler out of the cupboard?

Demons Run...

... when a good Man goes to war.

Finales are special. And season mid finals are no exception. And there are two things all of them usually have in common: a, the Doctor loses someone in the end, and b, the plot is on the edge of being dull when watched as a single story and could be roughly summed up in less than 14o's twitter characters, well, almost: Demons run when a good man goes to war, but they are not fast enough. But, the afore mentioned good man and his allies still lose the main cause which they where fighting for, even though in the end this does not seem to matter that much. You see what I mean? Then again Moffat knows how to distract his audience form the main plot by what I like to refer to as the story's wrapping: We have Headless Monks, scenes which would have fitted into any Star Wars-ode and we find out about River's identity, for which we've been waiting for more than 2 season. However, let's not forget that there is just one part of that original question answered which the Doctor asked her in the Library. We are still waiting for the 'Who are you to me?'-bit.

And here we are, at the one of the many problems of the story: River Song's identity. There aren't many people who can't claim their brownies for something they predicted, said, wanted to say but thought it to be too obvious to say, or something along those lines. So, River is a Time Lord, well, Lady; she is Melody Pond; the Ponds are her parents. Did I forgot anything? To quote Dan Martin's not improvable words 'It feels as if every possible theory anyone has posited has turned out to be correct. That's either totally genius or horribly foolish.' This may be the reason for why watching it for the 2nd time does improve people's opinion on it: There are no expectations left.

The second problem about "A Good Man Goes to War" is the war bit. The Doctor simply does not go to war. Not after the Great Time War. Never again. He knows a war's side effects, and he doesn't want to be the one responsible for them. Yes, maybe he isn't counting on things going wrong (which they do), but my overall impression is still that Moffat should have considered the past Doctors' personalities a bit more when coming up with the plot. Yes, it's made clear that he hates doing it. But considering the Doctor's remarkable history on sorting unpleasant stuff out without using violence but his wits (and many, many words), I have the feeling that there should have been another solution. I mean, that's the most attractive thing about 'Who': it's not those with the biggest weapons who win a war, but those making the best use of their brains. Which is usually the Doctor. So, I'm simply not buying this stuff. It's not real 'Who', it's one which could maybe work in a parallel universe, but not in this one.

Still, as already mentioned, thanks to the Big Moff we are only too willing to ignore these disturbing aspects, for the story's wrapping is more than just breath-taking at certain points, not to mention the cracking dialogues. And the cherry on this cake is that although 'A Good Man Goes to War' will be famous as the episode in which River Song's identity was revealed, it also gives us a few hints at the Doctor's past. Because the man who can turn an army around at the mention of his name is right, 'Good men don't need rules'. And maybe one day if we are lucky, we'll indeed learn while he has so many. But before that, let's try and make the best of the upcoming involuntary summer-break.

Shenanigans...

This was the best proper double-Doctor episode I've seen so far, and I'm glad that there wasn't a regeneration, even though only because this proofs the Daily Star wrong, if it was the Daily Star which claimed that. And it looks that Doctor 11b won't turn up at that lake in the US. It would have been a too easy way to solve that problem anyway, even though that problem will be solved. I'm sure.

So, what is there to love about these 4o-odd minutes? First, seeing the Doctors finishing each others sentences was one of the best moments in Double-Who history. It was also more than just logical that the Doctor had an 'identity-crisis' for a few seconds. All in all, he already had (at least) 11 different personalities, so creating a real double may be a bit complicated. And the way they said good-bye to each other was bitter-sweet: 'If I turn up to nick all your
biscuits, you'll know you were right'. Sadly, he will be wrong. At least most likely. At least as long as the Big Moff ..., anyway that guy has already too much power. Come on, he can destroy the universe at his will. How do you want to top this?

I could write a book on why the Doctor(s) was (were) especially adorable in this episode, but let's move on to the more important bits. Amy. And to this I just want to say the words every single scriptwriter longs to hear, even though this time it's rather the Big Moff than Graham who should be given credit: What a cliffhanger. No one did see that coming. That we have a flesh Amy from episode 2-something onwards was the most astonishing point of the whole story. Now also the whole 'TARDIS-is-not-sure-whether-she-is-pregnant-or-not' thing makes sense. And of course the Doctor knows what is going on. In fact, I can't think off another way of how this could have been explained away.

What I don't really get is why the Doctor sonics Amy number two, when he was so keen on letting anyone else live... but this is just a side-remark.
Somehow it was amusing that also the Doctor has his problems with these small things getting into his way when he wants to say something important, like Amy being pregnant. Well, some parents maybe had to explain the Doctor's 'Birds and Bees' comment to their offspring.

Anyway. Next week is the beginning of the end, or the Grand Finale, well, mid Grand Finale, to be most precise. Looking forward to it.

A Real Phonie...

IMHO it's not fair to judge a two-parter by its first 4o-something minutes, so I won't. Nevertheless, what you can, is comment on them. For that, here are my 'comments':

* This time even I noticed that Amy is not wearing a skirt.

* The Doctor does not tell Amy about the TARDIS not being sure about her being or not being pregnant...

* Matthew Graham is up to a double-Doctor story. And while some of us may be less amused by this, this has potential. I just can't wait to see the Doctor dealing with his own selves.

* Having said this, I'm sure that Doctor Number 11b is going to die sooner or later.

*Talking about dying... I'm glad that Rory has not yet and I hope he won't. That is starting to be ridiculous.

* What reminds me of the best line so far 'I think I died' - 'Welcome to my world.' And it's hard to top that.

* BTW, why is that guy keeping sneezing??? Is it important?

Anyway, let's hope that part 2 'The Almost People' will breath some new, preferable less artificial life into the story.

'But this was when we talked...'

This week Gaiman brought the only love-story involving the Doctor to screen about which not a single fan is ever going to complain. And you can't beat this one. Giving the TARDIS a human body, showing the relationship the Doctor and 'his old girl' have and wrapping this up into a genuine story; these are the secret ingredients for writing the perfect episode. The only down-side is that you can use them just once; but a great once.

Maybe the most interesting part of the whole thing was to see the story out of the TARDIS' point of view. According to her it was she who chose the Doctor because he was 'the only one mad enough' to show the universe to her. So indeed, the Doctor is a mad man with a box, or vice versa.

We also learn finally that it is not only the Doctor's navigation-skills which are to blame when he does not end up where he originally wants to, even after having spent 7oo years fiddling with her consoles. 'But I always took you where you needed to go.' She could not have put it in better words.
And there is also the bit about Time Lords being able to change sex when regenerating, even though I think that we should not get there. But talking about 'sex issues'; Amy and Rory 'complaining' about their sleeping-arrangements is the latest addition to our Doctor Who-related in-jokes list. Loved it, almost as much as seeing the old control-room for a change...
Oh, and the Ponds and the Doctor talking about the Timewar was just excellent. It more than just made sense.

Furthermore those of you who are reading this blog regularly, know that usually I'm not one of those to whom hankies belong to the standard equipment when watching finals, or heart-breaking story-lines, but the scene in which the Doctor was about to say 'goodbye' to Idris some kind of got me. There was something bitter-sweet about it. They won't be separated, but the scene in which he asks her whether she can still hear him in the very end was simply touching. Because she can, she will never stop being there for him, but she will never be able to talk/kiss/bite 'her' Doctor ever again.

All in all, this may be the best episode I've ever seen. And in spite of running the risk to say something stupid, it almost seems that Gaiman is what Moffat has been during RTD's era. So I really hope this is not the last bit we've seen of his genius.

Lots of Questions and Some Answers

You watched 'The Day of the Moon' to find answers? Well, Moffat gives us more questions first.

It is fascinating that the internet is still up and working, instead of exploding with speculations after yesterday's episode.
Those 45 minutes started with Moffat invents the pre-titles-cliffhanger. Well, sort of. Some of the scenes were pretty fun but incredibly needless, come on, River jumping from the sky-scrapper and landing in the famous TARDIS swimming-pool, even if going by the scene it seems to be rather set into one of the walls of the library, than on the ground... And let's not get into details of why the water is staying at its place. But that is just a side-remark.

Anyway. There are a number of more serious points to speak about. Like, the really creepy Silence. But are they able to control time somehow? I mean, just before Amy went inside 'her' child's room (more about this later) there was this woman looking outside the small window on the door. Who is she? Where did she went and why did the door look different afterwards? Moreover, apparently Amy spent several months, if not years being a prisoner of the Silence. She seems to have forgotten everything about it. But how did they do that? And why does she not seem to have been missing for such a long time. Maybe the fact that the TARDIS can't make up her mind whether Amy is pregnant or not (it does show both) is a hint at this. Time also may be a bit more bumpy than usual, what could be an indication for them having changed something in the past after all (and I'm thinking at the picnic at the lake in the desert in 2o11...)

So, there was also that little girl with a bunch of timelord-genes whom the whole season seems to be about in the first place.
Funnily enough, the Doctor is out of question. We all remember why he got Rory on board of the TARDIS; I'm quite sure there is nothing left for interpretation there. It seems that either Rory or Amy is a Timelord (or a Timelady) then, however, I think that Rory is the more possible options. This is because we do know a few things about Amy's parents and her aunt, and they appear to be quite human. at least to me. On the contrary Rory's relatives are pretty much a mystery. I don't even know for sure whether they have been at the wedding of their own son... Additionally, he waited 2ooo years for Amy, and although he was 'plastic' during that time, he still remembers it and he is dealing with it the same way as the Doctor is dealing with his past. Which is a bit odd in my humble opinion, but maybe I am reading too much into it.

Another point is River Song. Who is she? We still don't know for sure (or at all) but at least we got another bit supporting our 'wife' theory. The kissing-scene was somehow intentionally unintentionally funny. And if her last comment did not make you said go and get a heart. Nevertheless, this was not the last kiss for her. She mentioned in 'Silence of the Library' (what a introspectively spooky title) that before she left he turned up on her doorstep with a bunch of flowers and so on... There is a touch of tragedy about her character. I'm really looking forward to the next time she turns up.

But first Amy, Rory and the Doctor are having an adventure with pirates and an optically not unattractive monster, for a change.

Summer of 69

Heaving read some of the reviews (The Guardian, SFX, DenOfGeek

, The Guardian again) I was wondering whether it was the same 'The Impossible Astronaut' we are writing about. Because frankly, I don't understand the overwhelming positive opinions people seem to have about it.

Some of the above mentioned reviews claim that the first ten minutes of the episode were genuinely shocking, however, couldn't they have added some more tension to it? I mean, let's say they would have cut that bit and this season would start with River, Amy and Rory entering the fast-food restaurant. Maybe River mentions that the cards are numbered, see the Doctor's blue envelope lying on one of the tables and a few seconds later they bump into him. They are even more irritated and we are doing our best to figure out what had happened. Just imagine how astounded we would have been to find out about the whole stuff when the three of them are talking in the 'basement' of the TARDIS. After all, it's well known that everything we have to imagine ourselves ends up to be a lot more scary than what we are shown.

However, apart from these things I really enjoyed the episode. The Doctor is back and wittier than ever. I just adore Moffat for having written that scene in the oval office. Loved the bit that by saying his standard line the Doctor can keep Daleks and Cybermen from shooting him, but that it does not work for Americans. Maybe this is supposed to tell us something about mankind...

A thing which keeps me thinking is why Amy, who is supposed to be pregnant, is drinking some wine at the lake. Well, DoctorWhoTv.co.uk have already published their 1o Teasers for next week, and one of their point is that she is not pregnant after all. Is she thinking that the Silence are making her feeling sick. But what was the thing she wanted to tell the Doctor in 'Time and Space' then all about? Nevertheless, let's not forget about River also having similar 'symptoms' but blaming the prison food for it. So apparently, the cause of the whole mess is Big Moff's latest addition to the Whoniverse, which are, by the way, really scary monsters with extraordinarily terrifying abilities.

Speaking of River... We still don't know who she is, but it seems she won't end up killing the Doctor. Or will she? The last time he meets her (before his death) he seems to be on pretty good terms with her.

I'm confused, but I can't help feeling that this is exactly what Moffat wanted to achieve when writing this year's opening episode.

Halfway Out of the Dark...

Actually, the key-line was 'Don't make my mistakes.' But you can't have that as a title. Or something between that and 'How did boredom even get invented?' (well, I guess not being in the possession of a TARDIS comes quite handy to do this).

Anyway. These 6o minutes has to prove the biggest Moffat critics that there is a reason for that guy having that job. Come on, just compare what RTD used to give us around this time of year... and he even got away with it.

But first things first, here are a few other reviews by The Guardian, SFX and The Telegraph. And after writing this 'review' (if it's one) someone should check whether Lawrence Miles is all right.

So, comparing 'A Christmas Carol' to any other Christmas episode we had so far, the biggest difference was the plot. This year, it wasn't about the end of the universe, planet earth or London, but about 4oo3 people trapped in a crashing space-ship and Kazran being the only one being able to save them. The problem is, he doesn't feel like it. But the Doctor wouldn't be the Doctor if he didn't try to do something about this, a la good old Charles Dickens. Still, after testing a chimney's general chimney-ness (another unforgettable entrance of the 11th Doctor), being let down by the psychic paper which refuses to refer to the Doctor as a 'mature and responsible adult', almost comparing himself to Mary Poppins, breaking a sonic-screwdriver (again!), rescuing and taming a flying shark, making a match between Kazran and Abigail, proving to be bad with card-tricks, and not to forget about marrying Marilyn Monroe, the Doctor finally manages to save the day. And the outcome is one of Moffat's other 'must-sees'.

Maybe its biggest plus point is that the audience doesn't need to be a Whovian to understand what is going on (*cough* not like last year *cough*) but luckily, Moffat didn't forget about us while writing it. I guess, the Doctor appearing in a fez and a Tom Baker scarf are among other things those bits which are exclusively aimed at us. So are Amy and Rory's 'costumes'... Furthermore, there are a few great one-liners and almost even more lovable situations the Doctor get himself into. I just loved the 'Kazran, it's this or go to your room and design a new kind of screwdriver. Don't make my mistakes.'-bit or his instruction to young Kazran about how to kiss Abigail 'Try and be all nervous and rubbish and a bit shaky... Make it part of the plan!'

My biggest fear was that Moffat's adaptation of Dicken's story might turn out to be some sort of a Christmassy musical, especially after a few teasers saying that Katherine Jenkins, who did a great job BTW, is singing two times within 6o minutes. But really everything was just on spot. I mean even the fact of Kazran not letting Abigail out of her ice-y coffin for Christmas in the beginning makes sense in the end. Or that the machine doesn't react to Kazran as the Doctor changed him too much, or how Kazran finally releases Abigail because of his younger self. Besides, when Kazran decides to do that after all, and she finally comes out of her 'ice-box', that was one of those rare Doctor Who-moments that I had some sort of a tear in my eyes.*

Oh, and before I forget it. Fans seem to be a bit in two minds about the Doctor saving or not saving Abigail. In my humble opinion I think he did save her. Because, although that is not exactly what he says to Amy in the closing scene, he still acts a bit fibishly (and I know that's not a proper word). As if he didn't want to tell her something for being afraid of revealing one of his habits. I mean, saving her wouldn't have been a requirement for saving those 4oo3 people on that space-ship. Additionally, the following 'Halfway out of the dark.' sounds way too optimistic... almost as if it was a reference to Kazran's own life.

EDIT: And yes, I know what official sources say. But think about it. If Kazran lost his love on that day it wouldn't be 'Half way out of the dark' for him and Kazran is the only one to whom the Doctor can refer to. Additionally, Moffat is certainly not keen on spoiling his xmas episode by not giving it a 'proper' ending.
__________

*The other time was, when Wilf said good bye to the Doctor in Journey's End - 'But every night, Doctor, when it gets dark, and the stars come out, I'll look up on her behalf. I'll look up at the sky, and think of you.' that was the tear-jerker.