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...

Moffat's Choice

Up to now I have done a great job in not taking part in the 'oh my dear, one of the main characters is going to die in the season opener! Let's write a post about it' -frenzy. Actually, the reason for my lacking enthusiasm is that with Moffat having killed each of the main characters at least once last year it's hard to take him seriously. Moreover we have various other reasons to think that whoever is going to die will not stay dead for long. Maybe the most obvious one is that all three of them have been spotted filming for future episodes. So, the only reasonable possibility of why this could get us excited is that we also know that 'The Impossible Astronaut' 2 parter has a number of flash-forwards. And if the season opener started with the actual finale (don't ask me which one as there seem to be 2 this year) things could get more complicated than they seem to be now. But that is not very likely, for what we can assume that is not what was on Moffat's mind when writing this season's opener.

So, with having told you why not to take the whole thing too seriously, let the speculations begin.
Rory is maybe the first candidate who comes to ones mind when talking about this topic. Still, I don't think that Moffat is going to kill Rory again. I mean, how often can you get rid of him and bring him back before fans start complaining about it. That's why he seems to be out of question.

While Amy isn't. Although it might be bad for the ratings, for what I'm not sure whether Moffat is brave enough to kill her...

In my humble opinion the most likely option is River. And I know that she is supposed to die in The Library. But that's the joke. After all, that is the only thing we are not expecting. Fans would be genuinely shocked. However, with Moffat bringing her back anyway it would not even interfere with canon. Not as if Moffat needed to care about this stuff.

The only character whose death I'm not really taking into account is the Doctor's. It is just not very likely. And I bet it's hard to write a season with having killed the main character in the first episode. Well, Moffat says his choice will make people go 'What the hell?', however, I think that would be a too big bit to swallow.

But no matter whom Moffat chooses to die, maybe the most interesting part of the story is how he is going to bring him or her back again.

The Doctor Meets The Chocolate Factory...

And the question whether Doctor Who is appropriate entrainment for children is settled till the next episode.

@ Children In Need

Another pointless but not utterly bad 2 minutes well spent. Although Children in Need was not having a striptease in mind when they asked Doctor Whoto do something.

Lucky him that my TV remote does not have a red button; not as if...

Oh, and for the trailer. Last year's had a flying shark in it and you just can't beat that, but still, 'the Doctor, The Widow and the Waredrobe looks like fun. Just have a look at his explanations.

Cheating Time...

Let's face it, there seems to have been a curse on Doctor Who's finales. Or am I the only one who doesn't have any of them on their 'Recommendable Doctor Who Episodes' list? Maybe not. And having twice of them a season would not have been exactly my idea of a solution; but the same person who invented double-finale-seasons, is apparently the one to break the spell. Even though admittedly solving the problem by writing a Doctor Who parody will hopefully not become the standard solution of how to deal with the usually hopelessly self-important and overrated finales. 

I dare to say, that The Wedding of River Song is the first finale which I consider to be entertaining, because that's what parodies are. Of course, this comes at a cost due to which some (especially older) fans may be less fond of, namely, to achieve this Moffat breaks maybe every single of Doctor Who's unwritten Golden Rules:

First of all, you and I know that the Doctor will never die, at least not before completing his 12th regeneration. So, when we saw the Doctor's death in 'The Impossinle Astronaut' for the first time, most of us knew it could not be real. So the only remaining question was which paradoxical set-up was Moffat going to use to save the Doctor. Of course, using a Teselcta-Doctor-double is not the cleverest twist the Big Moff could have come up with, after all it triggers more questions than answers, but if we think about the finale as a parody, it may just do.

Then, there is the date. So, the whoniverse was supposed to end on April 11th 2o11 at 5:o2 pm. If it had been true, wouldn't it have been more effective to air episode 13 on April 11th? This way it seemed like one of those newspaper articles announcing that yesterday the world/time/universe ended. With a whimper not a bang, that's why we need a note.

Furthermore, I don't remember a season during which people, DIY-journalists, or according to Steven Moffat even worse, grown-ups, would not have been complaining about Doctor Who's far too complex storyline. And no doubt, bearing this in mind, the Big Moff wrote the most complex story-arch in Who's up-to-date-history, which gives, as a side effect, the running gang, What is bigger on the inside? a new answer: Steven Moffat's brain. He is the only one who can keep that finale and River's story in there. At the same time.

Talking about running gangs. Wasn't, back in the old days, the shows title supposed to be one? Well, now, almost 25 years after its 25 year anniversary we learn it's not a running gag, it is the question of the universe, which should be never asked nor answered.

And last but not least, if you had asked an old whovian whether the Doctor is ever going to change his martial status, the answer would have been a definite 'no'. Well, we could argue that the 'wedding' (lovely low-budget-bowties-are-cool-ceremony BTW) took place in an alternative universe which never happened, for what the wedding actually did never take place. But, of course that would be too easy. Because with Gallifrey being used to govern alternative-universes, they certainly made sure that their wedding-ceremonies are binding ones, no matter when and in which universe they happen to be conducted. So, I guess the 'I-do' is binding. And I know, there was never an actual I-do... but maybe that is what the kiss in Gallifreyan terms is supposed to be.

Oh, and we didn't really expected to see River in a white dress, did we? Then again we don't know much about time-lord-ish weddings in the first place...

But there is more to the episode than its immense fun factor. This was the first time since 2oo5 that the finale did not mean the end of an era, and Moffat kept his promise, we got answers. River is the Doctor's wife, and she is also in prison for killing him, without having actually killed him. Sort of. At least that seems to be how River's storyline is set in Moffat's mind. But come on, isn't it ironical that the Mill, the Champions of Law and Order, doesn't care about River committing a 'fake' murder, however, she still has to suffer its real effects? Although without the Teselecta the whole situation couldn't have happened in the first place. Is Moffat hinting at the universal police being as corrupt as the Russian government? And what about time itself? If everyone in the world believe a lie, does it become the truth? Ok, maybe things start to become too philosophical...

Anyway. Let's move on to the parts which were even less  answered. Like almost everything about season 5. Or most crucially what or who made the TARDIS explode causing Big Bang number 2? The Silence? And if yes, shouldn't we have come across that voice declaring 'Silence will Fall' from the TARDIS console by now? Maybe we'll find out next season. Even though personally I think that season 7's quest is more a 'when no living creature could speak falsely, or fail to answer, a question will be asked. A question that must never, ever be answered. Silence will fall when the question is asked...' -thing. So who knows, Moffat may manage to tackle both.

How Much Can You Cramm Into a Single Episode?

Moffat is usually not keen on revealing the finale's plot, but this season is some sort of an exception. This year he promised to fill those less than 45 minutes with answers, after all we all know what is going to happen, the only thing we don't know is how. Due to this maybe the most interesting question is 'what exactly is going to be answered?'

Let's start with the obvious, we know Moffat has to save the Doctor somehow; that's why it might be fair to assume that's what the biggest part of the story will be about. However, there is more, and no, I'm not referring to the colour of River's wedding-dress (if there should be one in the first place).

Like, will we get an explanation why the TARDIS exploded in season 5? Was it because of the Silence controlling it? Or is it something else hacking its really complicated system?

Then, do we get a reason for the astronautish-like footsteps in front of Amelia's house? Or does Moffat save these things for season 7? After all he can't cramp it into a single episode, can he? Well, it's just a day till we find out.

'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.

What was in the Doctor's Room?

Well, this is hopefully not THE Question of the universe which could make Silence fall, still, it's a pretty interesting one, even if, admittedly, it may never be (finally and officially) answered. Nevertheless, we do have hints.

First of all, we know that whatever is kept in one's room is resembling their basic fears. Now, as far as the Doctor is concerned, stakes might be high, that going by his record his basic fear is either loneliness or being responsible for something bad or both. Then again, being familiar with how much series love dramatic situations, it may be not too unreasonable to assume that by rescuing Amy (i.e. telling her all the reasons why she should leave him) he made his own fears come true. Moreover this is backed by the fact that he appears to have encountered his worst nightmare many a time, for when looking at it he has an almost 'oh that's the one' look on his face.

Because of these reasons it is possible that door 11 led him into an empty TARDIS, one without Amy and Rory. After all, this is one of the images which can cover both, responsibility and loneliness; responsibility for whatever he had done so that he ended up on his own again, which is usually the stuff Doctor Who finales are made off. Only that this time he used a shortcut. He knows being responsible for something else than their house and Rory's dream car could be much worse.

Maybe, if we get really lucky, one day Moffat will maybe provide us with a definite answer (on his deathbed is a likely option), but till then, only he knows for sure.

Who Facts - The Minotaur

Moffat wants us to spend tomorrow's evening watching 'The God Complex' and one of the characters featuring it is a Minotaur, a creature some of us should be familiar with from... was it history, English or something in between? Anyway. There are a few things about him which may be interesting regarding the episode.

Something most of us do not have difficulties to associate the Minotaur with is his home, the labyrinth in which he was kept, a house with open doors, rooms and endless corridors. So, why does this remind me of the trailer? Furthermore every 9th year, or depending on your source, every year, he demanded a sacrifice, 14 youth, which was the reason for his death.

But there is more. He had a name, Asterion, "the ruler of the stars". This ties in with something the story The House of Asterion deals with. There he compares his home to the universe, thinking that maybe he is its creator and just forgot about it. Additionally, he has a somewhat odd notion to death. To him killing people is a favour he pays to them. As for his own, the story describes his end as the following 'The Minotaur scarcely defended himself.' which may be an intentional or unintentional reference to the opening minutes of 'The Impossible Astronaut', but maybe I'm reading too much into it. Nevertheless, the chances of the Minotaur surviving the next episode are not too high...

Well, it should not be too difficult to write a good episode with such a mythological background. I would be disappointed if Toby Whithouse didn't make use of it.

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...

Moffat's AssignmentX Interview

This is a shortish AssignmentX interview with the Big Moff. Actually, there is not much we would not already know about, expect of two rather interesting statements, and here they are.

On the chances of producing more episodes in the USA:

"If we’ve got a story for it. I mean, that’s all it’s about. It is story-driven, so if we’ve got a really great idea set in America, we’ll do it."

On how much the Doctor changes after each regeneration:

"I think fundamentally it’s the same man. It’s the same man for a very long time, in very different ways."