Note: contains some spoilers, although I’ve tried to conceal them for the most part!
Due to other commitments this week, this is a rather late review; but I wouldn’t want anyone to think that my lack of a timely review for this weeks episode should be in any way construed as a lack of enthusiasm for it.
Far from it. In terms of atmosphere, interesting premise, excellent cast and overall great script, this was as good as anything Doctor Who has done of late. It’s also utterly different from anything Doctor Who has done of late: after the massively complex, deeply layered and intricately constructed opening two parter, together with the fun pirate romp (your mileage may vary on the ‘fun’ part) and the magical Neil Gaiman entry, this couldn’t possibly have been more different.
For one thing: it was slow. Now, that could be taken as an insult or a criticism, so let me assure you that I mean anything but an insult. It’s just that as I was watching, I was aware that not all that much had happened; and that was giving me time to absorb the story, and to think through some of the serious points being made (both important plot points, and equally important sociological points for the real world.) How nice to have a chance to watch a piece of TV that gives me time to absorb it and contemplate, rather than something that pummels you with its cleverness (no matter how much we might like that!) or tries to hide its script problems with raw pace (a few RTD scripts come to mind there.)
The slowness also allows the story to build a fantastically creepy atmosphere of claustrophobic dread, aided immeasurably by the decision to film much of it on location at various castles and monasteries that gave it such a unique feeling. But if this is to happen – if “slow” is to lead to “effective, creepy atmosphere” – then it can only happen with a good script and moreover a highly effective direction. Fortunately this episode had both in Matthew Graham and Julian Simpson respectively.
There’s an interesting comparison to be made between this two-parter and the season five episodes “The Hungry Earth”/”Cold Blood”, which was also deliberately slow-paced, and also shot in some some potentially very effective locations (caves, in that case.) Unfortunately, after a decent and fairly effective first part, that episode petered out into a story that felt like watching a particularly turgid council meeting and wasted almost every opportunity to create something special – one example of how “slow” really can end up being a pejorative.
I’m trusting this two-parter not to end up fumbling the second part – I have no reason to believe it will, it seems in very assured hands. There’s criticisms you can make of it, such as:
- it’s not exactly original and is very much showing its roots (The Thing and Name of the Rose are acknowledged by the writer) – but then, some of the best Doctor Who stories of all time during the Tom Baker era came from this sort of Who-reimagining of classic stories like Frankenstein and Dr Jekyll and Mr Hyde;
- some of the guest characters are chronically underwritten or given some really clichéd broad strokes to work with (such as Jimmy’s memories of his son) – but it succeeds by some clever casting of the likes of Raquel Cassidy, Mark Bonnar, Marshall Lancaster and Sarah Smart who immediately and very effectively bring something of their previous screen personas to the part;
- Rory’s sudden spark of independence instead of trotting after Amy all the time is out of character – but how good to see it, and lovely to see Arthur Darvill have some more meaty material work with at last rather than just as comedy relief. Plus, he didn’t die for once!
- And really, it was always going to end with that cliffhanger from the moment that the Doctor poked and prodded the pool of milk. Consequently so much of what preceded it felt like treading water waiting for the big reveal to happen. But when it did … Boy, was it worth it.
When I watched “The Impossible Astronaut”/”Day of the Moon”, I thought to myself that this is what a Doctor Who feature film would look like. Then along came “The Doctor’s Wife” and that was so gorgeously directed and photographed that it put many a Hollywood film to shame. But now I’m convinced that this is the perfect paradigm for a Doctor Who film – it felt like a motion picture from the get-go, and any doubts were dispelled by the “Next Time” trailer which was the best they’ve ever done. You could put that on as a trailer in a movie theatre and have them lining up around the block to see the film next week in no time.
We only have to remember to switch on our TV sets. Although sadly Americans and Canadians will have to restrain themselves for an extra week before getting to see it. Don’t worry, we’ll tease you mercilessly about it in the meantime.
Note: contains some spoilers, although I’ve tried to conceal them for the most part!
After all the build-up, hype, anticipation and expectation of having one of the world’s foremost science fiction and fantasy writers, Neil Gaiman, supply a script to Doctor Who it was inevitable that the final result couldn’t possibly live up to it all.
Inevitable, perhaps. But – as it turns out – utterly incorrect.
I’m not even a particular Neil Gaiman fan (or more accurately, I’m not a huge fantasy genre fan) and so approached this episode with a degree of caution that it wouldn’t be “my sort of thing”. I had been fortunate to miss any spoilers about the episode – I understand there have been many online and even in mainstream press, to which I can only say “Shame on you.”
I very quickly cottoned on to who Idris was going to be, and the concept was initially interesting but only in an eye-brow raising “Oh, they’re trying that are they?”
It’s one of those ideas that seems so obvious, even as it is revealed, that you (a) can’t believe no one has ever done it before, and (b) still feel won’t be all that special after all. And yet within minutes it pulled together so many strands that the show burst through its series format confines and became, for the next 40 minutes, bigger on the inside than it ever previously appeared before.
It was a show packed with brilliant lines, from the Doctor’s chilling “Fear me, I killed all of them” to his aching for forgiveness, to Amy’s arch “Did you wish really hard?” when she finds out Idris’ real identity, to the way the Doctor said he’d stolen her and she responds that in fact it was the other way around. But surely the best of them was something we have always known deep down but never had confirmed before: when the Doctor accuses Idris of being unreliable and never taking him where he wanted, her reply was brilliant: “I’ve always taken you where you’ve needed to be.”
Even the traditional weekly Rory death scene was forgiveable, seeing how well it was done (quick, snappy, nightmarish – the graffiti on the Tardis walls was chilling and Rory’s rebuke citing his 2,000 years of waiting packed a huge emotional punch). Rory and Amy both got some great moments again in this episode, in a show packed with brilliant and astounding performances from Matt Smith (surely never better in the role?) to Suranne Jones as Idris, and the creepy, deep tones of Michael Sheen as House.
Despite the fact that this was probably the most satisfying stand-alone episode for even casual viewers to watch, it packed in more love notes for Doctor Who geeks than anything even Russell T Davies managed in his tenure, right down to finding the Tardis setting down in…a junkyard, just where it all started. It’s clear just how much Neil Gaiman is a massive Doctor Who geek himself, as the companion behind-the-scenes Confidential show followed him going totally fanboi as he stood on the console room of the Tardis reading aloud the script that he’d written. And what magnificent prose that script sounded in its own right, too – surely it will get published? Just the sight of Amy and Rory arriving at a certain old console room deep in the heart of the Tardis was enough to spark geekgasms up and down the country. Bravo to Mr Gaiman for envisaging that – I might just have to start reading your books now after all, sir.
Confidential showed just how much the core concept of this episode had been seeded through the 32 previous seasons of the show, and clips of Rose and Sarah Jane Smith (awww, Lis …) comparing notes on how the Doctor cooed and stroked and talked to the Tardis seemed like some crazy script editors had been feverishly at work laying out the series arc even then, going back decades.
As you’ll recall, last week’s pirates caper felt to me like disappointing “filler”, treading water despite all those series arc continuity references it packed in. Ironically, this episode was structurally far more of a classic “bottle show” in that it lacked any continuity references to the episodes or series immediately around it. It could be parachuted in to any season (indeed, it was famously ‘bumped’ from series 5 where it had been originally scheduled.) And yet the episode was such that far from being lightweight, disposable fluff, detached and unnecessary to the series, it instead managed to be profoundly connected to an entire 48 years’ worth of the show’s history.
In a way that I’m not sure we the audience or even they the production crew quite understand or expect, this episode can’t help but change the way we see so much of the series and the character of the Doctor. For one thing, it brings home to us why the Doctor can and will never be in love with his companions (and doesn’t it show his time with Rose as a rather shallow distraction?): because there can only ever be one true romance in his life. She’s the one companion who has been there throughout; even before Susan, Ian and Barbara, she was the first, and she’s still with the Doctor and with us. She’s the most important character in the show, along with the Doctor himself.
Shows like Doctor Who can, at their very, very best, produce genuine magic. In previous years it has been Steven Moffat who had provided exactly those highs, with ‘The Girl in the Fireplace’ and ‘Blink’. It’s taken someone of Neil Gaiman’s calibre to top all of them: with this episode, the show has cast perhaps its most magnificent spell over its viewers yet in its entire history.
“Hello, sexy,” indeed.
Note: contains some spoilers
Well, this is embarrassing. I finished off my last review (of The Impossible Astronaut/Day of the Moon two parter) by saying that my brain was broken and that all I wanted was a nice, simple straight-forward adventure to give my head a bit of a break, and that’s duly what this episode gives us. And … how unsatisfying does it feel? It’s as though, having feasted on full steak dinners for two weeks, we turn up this week to get a sub-sub-McDonalds burger at a motorway café.
In truth this episode was always up against it as far as I was concerned because of the subject matter. I’m just not a big pirates fan: the only film/TV show featuring pirates that’s ever worked for me to any degree was the original Pirates of the Caribbean movie (and not even, you’ll notice, the sequels) to which this week’s episode will always be inevitably (very unfairly) compared. That film succeeded because it really went for it and was as outrageous as Johnny Depp’s inspired creation of Jack Sparrow; but where Pirates was full-blooded, The Curse of the Black Spot was half-fat and semi-skimmed by comparison.
The fight sequences never had a chance of being motion picture quality of course, but even so they were peculiarly flat and sluggishly shot here. The tone of the show as a whole was also very uneven, with some of the pirate crew doing full-on pirate cliché performances while others looked like they hadn’t got the memo – and then there was Hugh Bonneville giving a serious, intelligent performance of dignity and gravitas that belonged in a far more high-minded production altogether. And considering the production team went to the trouble of decamping to Cornwall to shoot on an actual tall ship, it’s amazing how studio-bound this episode felt, with the on-deck sequences against a featureless black background feeling as artificial as the 1983 Classic Who serial Enlightenment: there’s no sense of genuine place or atmosphere, of the claustrophobia of such a ship.
There were some definite pluses to the episode: I thought the performances of the three leads delightful, with Matt Smith never embracing the weirdness and the fun of the Doctor as much as he did here in scene after scene, and in particular his moments captain-to-captain with Bonneville were a genuine delight (although his sudden cry of “urgh, alien bogies!” was very ill-advised and made him sound like the Play School version of the character); Rory continues to steal the show, not so much with dialogue or plot in this episode but with little moments of physical comedy improvisation from Arthur Darvill such as his little wave at the pirates before the titles crash in; and Karen Gillan got some lovely moments, from her fight scene to her interplay with Rory over his falling for the siren. Oh, and said siren was tremendously effectively realised – well acted (perhaps surprisingly) by Lily Cole and by turns beautiful, creepy and scary, a lovely bit of CGI work that was exactly the sort of FX that had previously looked so poor and cheap in season five but here looks the proverbial million dollars (note to media critics of the BBC: not actually spent a million dollars. Oh, no, definitely not. Heaven forbid.)
Lots of good ideas (seeing into another world through the mirror – very Lewis Carroll) and moments, then, but the whole thing just didn’t really gel together and felt very uneven. Where the script and direction needed to be light and playful, instead we could hear the gears crunching as it tried to move from one set-up to another, particularly when young Toby was introduced to impose an unnecessary and clichéd pathos onto Captain Avery’s character and then later (more understandably) as the show tried to abruptly transition from pirates, folklore and horror to science fiction on another dimension’s ship rather too late in the day to make it work, feeling tacked-on instead.
Most of all – a surprisingly large number of plot lapses to be found here, of ideas not fully worked through and a script that hasn’t been finessed nearly enough. Was Steven Moffat too wrapped up writing his own scripts to run full due diligence here? To name a few: how did Toby stay undiscovered on board such a small ship for so long? Why is the Doctor so quick to call time and abandon ship on his beloved Tardis? Why on earth should breaking a mirror destroy the possibility of reflections – arguably it just makes a thousand more reflective pieces (c.f. the aforementioned Enlightenment?) What happened to the Boatswain who apparently just disappears from the Armoury? Why are all of the pirate crew left on the space ship when at least a few of them suffered from nothing more serious than a paper cut? Toby we can understand, and an ending that saw Avery choose to stay behind with just his son would have had more impact that a group shot of pirates gathering around with nothing else to do other than look at the stars and tie up a loose end. It can’t be that once transported, everyone – no matter how serious the original injury – is unable to leave or else the Doctor and Amy would be similarly dependent on the place forever more, let alone Rory.
Talking of which, I really can’t work out exactly what the logic was behind Rory’s condition. If the alien medical technology had cleared the water from his lungs and resuscitated his heart and respiration, why should be suddenly go back to a drowned state once removed? It’s pretty useless medical technology in that case, and the alien creators of it should be ashamed of themselves for their lack of foresight. No wonder they were all wiped out by the common cold (and – a space faring race wiped out by earthly bugs? Not exactly well prepared, were they!) It would be petty of me to say that I was disappointed that the siren/Lily Cole didn’t get to have a holographic moment with a line like “Please state the nature of your medical emergency,” but I could have sworn that the alien sick bay stole a couple of sound FX cues from the original Star Trek.
Oh, and please – can they stop killing Rory (or some series regular) seemingly every week? Have we really got to the point where we can’t believe that it’s a high-stakes adventure unless and until one of the main cast are apparently offed? I’ve lost count now of how many death scenes Rory in particular has had. If ever he is written out this way, no one in the country is going to realise/get it/care until several weeks later after all these cry wolf moments.
Sadly, all the plot threads from the opening two-parter were thoroughly parked, despite some heavy-handed attempts to reference them to make sure people didn’t forget and to establish a “through-story/season arc” feel to things. But rather than advancing the story in any way, all of these (Rory and Amy discussing the Doctor’s first episode death and how they couldn’t tell him; the Doctor re-running Amy’s pregnancy test and still not getting a clear answer; the re-appearance of Eyepatch Woman peering at Amy through a shutter) were literal restagings of what we saw in the first two episodes and consequently add nothing, except to either confuse or frustrate depending upon your personal mood.
All in all it felt like a filler episode, which in a season as short as this one is inexcusable. Or perhaps, in view of the pirate subject matter, we should just say that this episode was merely “treading water”; presumably having just walked the plank.
NOTE: packed full of spoilers, and possibly traces of nuts.
Oh boy. Remember how, in my review of episode 1 of the new series of Doctor Who, I suggested that we might have a better chance of understanding what was going on in the season opener after we’d seen the second of the two parts? How sweetly naive and utterly wrong that hope turned out to be.
To put it simply: at some point during the 42 minutes of “Day of the Moon”, my brain broke. Not only did the episode totally and wilfully avoid answering any of the questions that part 1 threw up, it then plunged on and upped the ante with a series of further shock twists and revelations that left you questioning just about everything you were seeing.
Was the first episode shock of the Doctor’s shooting picked up and resolved? No. It wasn’t even mentioned once this time around. Do we learn who the little girl is? No. But we do find that she has a photograph of her with Amy, upping the likelihood that she’s Amy’s daughter after Amy blurted out that she was pregnant at the end of episode 1 … except that in an oddly belated off-hand follow-up, Amy says she’s not pregnant after all and it was just a side-effect of the Silents’ mind control leaving her with nausea (something we saw affect River as well, so it’s possible.) But then why is the Doctor running a pregnancy scan on her? And why is that scan oscillating between pregnant/not pregnant? Is that just what it does while calibrating and is teasing us by withholding the actual answer from us, or is it possible that she’s genuinely both in some way? Or is this just all too obvious for someone as fiendish as Steven Moffat?
The one thing the episode did do was wrap up the immediate story about the invasion (or rather, ongoing occupation) of the Earth by the Silents, through a very neat (if hard to keep up with) twist of broadcasting the aliens’ own commands over the most watched single piece of TV footage in history, hence enabling the population of Earth to be able to see and thus fight the Silents. Some people might grumble that this was a piece of technobabble deus ex machina sleight-of-hand, but in which case they need to watch again: all the pieces are so carefully and fastidiously put in place beforehand that it’s practically a text book example of how to write this sort of thing and not cheat the audience. But while it provides an immediate end to the current story, it does nothing to answer the bigger questions. The Silents, we learn, are parasites who have been steering human history in order to get us to build things they want – such as instigating the space race in order to get spacesuits. But why do they need the suits? Why put a little girl into one? What’s the overall plan? And what’s that leftover ship from “The Lodger” doing? (And yes, it was confirmed that it was the same sort of ship by the Doctor, who comments “I’ve seen one of these before, abandoned.”)
Some of the flaws in episode 1 were addressed and improved upon by the second part. The period feel I felt missing last week was handsomely delivered this time around. And the Silents were much more effective: for long stretches of the episode we don’t see them at all, but their presence is registered by flashing implanted voice mail indicators and by pen marks the characters draw on their arms and faces to mark a “sighting”; and it’s utterly chilling and jarring, when with no warning at all these indicators suddenly appear and we don’t know why, because … Well, we’ve forgotten, too. Suddenly the power and the threat and the sheer terror of the Silents is brought right home to us in a way it never was as a CGI alien in a suit.
Those voice mail capsules were a brilliant addition to proceedings, enabling Amy to speak to the Doctor and Rory after she’s abducted. Rory’s unswerving devotion to her – insisting on talking to her despite it being receive-only – is hugely affecting, and when he starts to believe that she’s declaring her love for the Doctor over the broadcast it’s also utterly heartbreaking, because Rory is such an appealing, rounded and sympathetic character. Far more so these days than Amy, who even after she returns and assures Rory that she was talking about him all the time, you still feel that she’s pulling a fast one somewhere along the line. With the Doctor eternally unknowable, and Amy not entirely trustworthy, Rory’s importance as our main point of audience identification is crucial and shows how vastly more than the “tin dog” add-on he is to the current triumvirate.
Alex Kingston as Dr River Song was magnificent again, from showing superb gun skills through to diving off the Empire State Building … and into the Tardis’ swimming pool (a 5s scene that managed to make me laugh while being simultaneously a riff off the start of “The Time of Angels” and a throwback to the start of “The Eleventh Hour”.) Her shooting down of the Silents may raise eyebrows from fans raised on the Russell T Davies era of the Doctor for whom guns were anathema, but looking at the wider history of the character you’ll see that’s a very 21st century affectation. And besides, River cheekily comments that she hoped her “old fella” didn’t see any of that … Is that one question answered at least – confirmation that River is indeed the Doctor’s wife? Possibly. There’s a lovely coda back at River’s prison where she suddenly locks lips with the Doctor and Matt Smith performs some inspired writhing as he tries to find someway out of this latest diabolical clinch … but the comedy then quickly turns to tragedy as the scene closes out on River commenting that this is “the last time” for them.
There are still flaws: the Nixon character completely collapsed from any credibility or closeness to the real person, although he did make for a funny “running joke” as he was wheeled out of the Tardis all over the place to establish the Doctor’s bone fides at key moments (what, the psychic notepaper no longer doing the trick?). And his final scene with Canton Delaware, in which Canton’s choice of life partner was revealed, was a wonderfully light touch scene that shows how to be both outrageously politically correct and in service of the story.
But really it was the sheer ferocious pace of everything coming at you that left you gasping and reeling. The pre-titles sequence this time had the Doctor a prisoner in Area 51 and all the companions chased down and killed by a seemingly turncoat Canton, the time having moved on three months since the cliffhanger at the end of episode 1 which was never really picked up again. At least there was no timey-wimey bumpy-wumpy timeline jumping this time around, but Moffat was instead having a grand old time playing around with linear story structure and it had a similar implosion effect on the average human mind. At times, all you wanted was a nice quite moment, a bit of exposition and explanation, a few questions answered. A nice scene in the Tardis with everyone on the couch drinking tea for 5 minutes to catch their breath, is it too much to ask for?
Instead what we got was a haunted orphanage that was straight out of gothic horror (they should just have called it Arkham Asylum; the only remaining person there was a Doctor Renfrew which is surely a knowing wink to the insane Renfield in Dracula) – scenes that were so impressively designed and shot, and so brilliant and scary, that you wished they’d make an entire episode about this one location rather than career in and out of it in ten minutes flat.
And then there was the end. Back to the little girl. If anyone had still laughably believed that they were just about clinging on to the narrative, then surely this final scene would have broken their resolve too, because surely no one saw this coming. What does it mean? How could it be? Who could it be?
What … the **** … is going ON?!
I’m hoping for some very light-hearted, no ties, question-free swashbuckling pirating action next week, I really am.
NOTE: contains some mild spoilers, and possibly traces of nuts.
And so “the Doctor is in” once again. This time he’s hitting the ground running with the sort of big, bold, epic adventure normally reserved for season finales – including the shock moment in the first 10 minutes that would normally be the end-of-series cliffhanger par excellence, and yet here it’s merely the kicking off point and the start of things.
It’s not an episode you’re really going to understand, unless your name happens to be Steven Moffat. It’s too devious and intricate to ever let you think for one minute that you’ve got a firm grip on where its going or how it’s going to play out. In fact the best thing is to actually stop even trying to follow the plot at this time and instead just view it as a “mood piece”, where you sit back and enjoy the overall flow of it and the specific set-pieces and hope that the plot will come to you later on – after part 2, maybe. It’s certainly not the sort of easy-access starting point to the series that we may have expected given the show’s obvious efforts leading up to this season opener to really try making it big in the USA at long last.
A big problem in ‘breaking’ America is that the show, while expensive in UK terms, is on a pauper’s budget compared to US network productions. One of the biggest criticisms that people had of the previous season was that the widely publicised across-the-board BBC budget cuts had really hurt Doctor Who, with CGI not as good as previous years (Vampires of Venice) and other shows having to make do with a boutique guest cast of 5 or 6 where really it needed crowds of people to make it live up to the script’s vision (Hungry Earth).
Well, no budget problems in evidence in this season opener (perhaps thanks to a co-production deal with BBC America?) It’s hugely impressive, stunningly cinematic throughout and looks wonderful, right up there into proper movie territory, especially with the location shooting in Monument Valley and Lake Powell in Utah and Arizona adding a genuinely epic feel to the early scenes, as does the hiring of well-known US series actors (and real-life father and son) W Morgan Sheppard and Mark Sheppard in a key role (and yes, I do mean one role, that of temporary new companion Canton Everett Delaware III.)
The ensuing 40 minutes of action are non-stop, but not the story of melodramatic running about that most shows practice – every single scene has a vital role in progressing the story and the ideas forward. So you have breath-taking, show-stopping iconic scenes following one after the other: a giddy chase across history keeping up with the Doctor’s exploits; the arrival in Monument Valley and a picnic by Lake Powell; an Apollo astronaut in the middle of the desert; a shock shooting, and the death of a regular character; a Viking funeral; the Tardis in the White House; the creepy warehouse and the underground tunnels with that strangely familiar control room, and then the return and unmasking of that astronaut again. And above all, the new villains – the Silents, who are staggeringly creepy as little grey men incongruously dressed in “men in black” suits and ties: they only lack the shades. Their scenes in the White House (and in particular, in the rest room) are among the most gripping moments of the episode. All of this is hugely captivating and arresting, even if you don’t really have a clue what’s going on: but I suspect only adults will worry about whether the show is “understandable” while kids won’t think about it for a second as they’ll be too busy hiding behind the sofa or watching with their mouths open in wonder.
And then there’s the dialogue and the character interplay: I just love how the four regulars (the Doctor, Amy, Rory and River Song) play off each other, and their scenes together top any others in the show whatever the spectacle or the scare factor on offer. The main cast (Matt Smith, Karen Gillan, Arthur Darvill and the wonderful Alex Kingston) are all on terrific form and really strong in their respective characters now. The team reacting to the Doctor’s surprise reappearance in the diner; later, the trio struggling to keep a vital secret from the Doctor (and his sulking about it); Amy’s revelation toward the end; Rory having to walk Canton through basic Tardis induction protocols; and in particular, River’s opening up to Rory as they search the tunnels are all genuine character highlights. There’s also a lovely character grace note where the Doctor reassures the new crew addition with “Brave heart, Canton!” immediately reconnecting us with the Peter Davison years.
There are a few things that don’t quite come off. Stuart Milligan, playing President Nixon, is a good actor but he really isn’t anywhere close to a good-enough representation of America’s most notorious leader in any way. And while the Oval Office set is perfectly fine, there’s a lack of sense of genuine West Wing ‘atmosphere’ that belies the show’s British origins which fail to quite understand the nuances (one basic example being the Secret Service overlooking River Song’s firearm and never taking it away from her.) Plus, given that the show makes a big play about being a trip to Space: 1969, there’s actually an odd lack of period feel at this point too – although that might be rectified in part two.
Oddest of all, there’s a sense that Moffat – a hugely imaginative and ambitious writer – is strangely stuck on certain themes when it comes to his Doctor Who scripts. Once again we have a show that starts with a prison breakout by River Song; a series regular’s (apparent) definite-and-final death (they all died at one point last season); followed by a lot of tricksy jumping around and complex interweaving of timelines of the sort we’ve seen in several of Moffat’s previous scripts starting with his award-winning episodes The Girl in the Fireplace and Blink through to the S5 two-part finale last year, the Christmas special and still more recently the Children in Need special in March. Even the new villains are strangely familiar riffs on an old successful theme: where Blink‘s Weeping Angels could only move when someone wasn’t looking, here the Silents are able to erase themselves from memory as soon as someone looks away. It’s still working, it’s just that really it’s starting to get a little bit familiar and needs resting. Russell T Davies, for all his faults, never stayed still and was always trying something new and different – even if sometimes his approach failed or resulted in unfocused ADHD scripts, it couldn’t be faulted for always trying new directions week in and week out. Moffat is running the risk of overthinking things and finding himself stuck in a particular furrow, where Doctor Who should always be about unlimited possibilities and infinite alternatives week in and week out.
But right now, that’s carping. The Impossible Astronaut was a hugely successful and effective epic opener and one that makes you desperate to see part two right now and not have to wait for another seven days, and that’s always quite the best compliment you can pay to the show.