All of Time And Space Outside These Doors....

Oh yes, that's proper 'Who' at its best, and all it takes is a dangerously well organised villain (the Great Intelligence, the one who was also responsible for the deadly Snowmen form last Christmas episode, we remember) and a couple of new mysteries for the Doctor to focus on: who is Clara Oswin, or how is the great Intelligence and she connected with each other? Who was the woman from the shop who knows the TARDIS' phone number? River? Is the Doctor's future self manipulating his past/future and 'making' Clara bump into him, somehow. At least Moffat promises us to find out within this season.

Talking about the new companion... Do you know her most important quality which makes her the perfect companion for the Doctor? He's already seen her dying. Twice. And he suspects that there isn't much he can do about it. So it doesn't matter if she has some fun with him before she ends up in a Dalek and/or a Victorian coffin. Moreover, it's really great to see the Doctor inviting her on board the TARDIS and she turning him down. Well, I guess in *real* life that would be people's natural reaction, it's just that the Doctor and real life aren't really acquainted with each other.Then again, Moffat is the best when it comes to making the least realistic or even logical things appearing real. Where else could you see a girl not being utterly shocked by meeting a *proper* alien. I loved the Doctor's reaction, though 'Yes I am. Are you OK with that?'

Actually, it were the innumerable small moments between the two of them which makes the whole story perfect and adds some real life feeling to it; like the Doctor leaving the jammie-dodgers for her, him hinting at her Victorian past/(future?), well, at least now we sort-of know where her excellent hacking-skills ('Asylumn of the Daleks') come from, or the last minutes in which she asks him to ask her tomorrow again to travel with him, because she'll may say yes then (and we and the Doctor know she will). And when was the last time the Doctor actually received a proper phone-call via the Police Box phone? Or that he heard the 'bells' of 'Saint John' ringing? And we have already a few loose ends which asks to be tied up some time in the future. E.g. what was that leaf thing all about? And why doesn't she want to talk about it?

Sure, there was some sort of a sub-plot going on with those spoonheads which served the Great Intelligence as a tool to 'feed' on healthy, human minds, for whatever reason... And his servants/employees used the wi-fi to do all this, which is some sort of spooky (especially as since a few minutes a new wi-fi spot has kept appearing in my wi-fi list: ALIEN lol) But all this simply demonstrates the Big Moff's magnificence; I guess there aren't many screenwriters who'd use such an elaborately crafted plot  as the background-story to introduce the new companion. The story could have lived up to any standards which poor Russel T Davies set up for 'Who's finales. 

What I don't get is what 'the Doctor saving the plane' scene was about. After all, it didn't really add anything to the story; it simply allowed Moffat to cheat and get done with the the Doctor introducing himself to the new companion, which is part of the actual ritual. And Clara didn't seem too shocked by this new information, either that or she simply couldn't be more shocked as she was in a then still just about to crashing plane. So maybe there wasn't exactly enough time for the information to sink in.

All in all, 'The Bells of Saint John' was a great opener and next week Clara will be on her first alien planet, visiting a place which she certainly won't find in her book. Maybe we'll get an appropriate reaction to the Doctor *really* being an alien then.

Moffat Talks 'Who'

Every year, just before 'Doctor Who' becomes part of our weekends again, the Big Moff gathers his subjects working in the media and gives an interview. Or vice versa. This year's most interesting read comes from Collider. And sadly, it features the general dull 'Jenna-Louise Coleman'-questions (what do you like about her, why did she get the job -  because she's terrific AND a great actress, just in case you wondered ect., ect.) but also some more interesting ones. And no, I'm not referring to Moffat's most favourite episode; seriously, he is the showrunner of 'Who'. He is paid for saying that the next one's the best!

Nevertheless, Moffat is also offered the chance to talk about more interesting stuff, like why he thinks that the Doctor, and the show, needs an excellent companion, or how he manages to come up with the idea for his genuinely creepy monsters, what he thinks of purely historical adventures and his initial idea of bringing back the ice warriors, and so on. Of course he has to say also a few words on 'Doctor Who's 5o-year anniversary, and its function, plus, the cherry on the cake is that tongue-tied Moffat promises to reveal Clara's secret within the next 8 episodes. Which is great news. Somehow I'm starting to tire of far stretched story-archs. River's sub-plot has become complex enough to follow. So, all in all, it's certainly worth reading that somewhat long-ish interview.

I Never Know Why, I Only Know Who....

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.

Vulture's Moffat Interview

In a few days the incredibly long waiting for the next Doctor Who episode will be over. And, as every year, the happy occasion is preceded by interviews. The first (interesting) one is done by Vulture with the Big Moff, who talks about everything Who (what to expect form the next season's episode, the new companion, his opinion on a possible Who movie, and why he doesn't think that the show is too complex) as well as a bit about Sherlock.

But if you hope to read about real spoilers, than do not be disappointed, Moffat sticks to his old habit.

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.