Posts Tagged ‘ Alex Kingston ’

“The Angels Take Manhattan” – Review: Redux

Amy “Hello, old friend. And here we are. You and me, on the last page. By the time you read these words, Rory and I will be long gone. So know that we lived well and were very happy. And above all else, know that we will love you always. Sometimes I do worry about you though. I think once we’re gone you won’t be coming back here for awhile. And you might be alone. Which you should never be. Don’t be alone, Doctor.”

The Angels Take Manhattan

And so it came to pass that the Ponds/Williams’es have finally left the Doctor to his own devices and gone to live as normal a life as they could muster. Not in the Victorian terrace that had been their Earthbound domestic dwelling place donated to them by their friend but instead in old New York. Prior to airing and, in essence, ever since Karen and Arthur announced that they would be leaving, speculation was rife as to exactly how this would happen. Infamously, The Moff said that not everyone would make it out alive and that “This time I’m kidding!”: A none too subtle reference to the fact, and an admission of his fibbing, when he had said that one of the characters would absolutely, definitely be killed in “The Impossible Astronaut” Continue reading

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“Closing Time” – Review: Redux

Doctor “No. That’s impossible and also grossly sentimental and over-simplistic. You destroyed them because of the deeply-ingrained hereditary human trait to protect one’s own genes. Which in turn triggered a… a…. Yeah. Love. You blew them up with love.”

Closing Time

I’ve mentioned a couple of love-conquers-all endings that have popped up in recent episodes of Doctor Who where just wishing really, really hard or thinking of someone you love is enough to overcome the deadliest of adversaries. Well, here comes another one and, while it’s by far from being the last one you’ll see in these final episodes of my mini-marathon, it’s one of the most blatant. Don’t get me wrong it’s a pretty good episode, played by and large for laughs, but with a good dose of pathos brought about by the fact that the Doctor knows that he’s nearing his ultimate demise, a fact which has been on the back of viewers’ minds since the opening instalment of Series Six. Additionally, there is an incongruous River Song / Madame Kovarian scene at the end that sets up tomorrow’s Series Finale “The Wedding of River Song”. However, the addition of this scene did diminish the impact of this bromance tale by reducing it to being little more that an appetiser, as we await the main course. The decision to revert to standalone, movie-of-the-week stories for the duration of Series Seven begins to look smarter by the minute Continue reading

“Let’s Kill Hitler” – Review: Redux

Doctor “Well, at least I’m not a time-traveling, shape-shifting robot operated by miniaturized cross people. Which I’ve got to admit, I didn’t see coming.”

Let's Kill Hitler

Let’s get this out of the way first: when the words “Let’s Kill Hitler” first appeared on screen at the end of the mid-series finale, I could’ve punched the air with joy. It was a brave, controversial, memorable choice and one of the last second stings that we’ve seen from time to time through modern Doctor Who. I am thinking of the appearances of both Catherine Tate and the Titanic, or when Rose tyler turned around in “Partners in Crime”, or when the Doctor started to regenerate in “The Stolen Earth” as prime examples of when you are sat there waiting for the credits to roll and the writers pull off a jaw-dropping shock for you. Let’s. Kill. Hitler. did just the same for me. Thinking about further it might not be the most appropriate title for what is, on certain levels, a show about pacifism. Furthermore, it’s one of those titles that tells you almost nothing about what it’s actually all about. Much like Series Seven’s “The Bells of St. John”. However, despite it’s possible inappropriateness and lack of relevance, it’s still a pretty good yarn. Continue reading

“A Good Man Goes to War” – Review: Redux

River “Demons run when a good man goes to war. Night will fall and drown the sun when a good man goes to war. Friendship dies and true love lies, night will fall and the dark will rise when a good man goes to war. Demons run, but count the cost. The battle’s won but the child is lost.”

A Good Man Goes to War

“A Good Man Goes to War” is a very different kind of Doctor Who episode. It is stand-alone story in as much as it does not have a second part but in truth the storyline is essentially the tying together of many plot threads from previous Moffat era stories and the creation of many new ones that reach out in to Series Seven and perhaps, beyond. The revelation at the end of the previous episode that the Amy who has been travelling with Rory and the Doctor (since, as we discover here, before the beginning of Series Six) has been nothing more than a Flesh Avatar, meant that we now find out that the real Amy has been stuck on the converted Demon’s Run asteroid, being guided through her pregnancy under the beady eye of Madame Kovarian, played with delightful evilness by Frances Barber. The discovery of this deceit has clearly spurred the two men in Amy’s life into a massively complicated and not a little timey-wimey plan that is cleverly played out in the pre-title sequence. Continue reading

“The Impossible Astronaut” – Review: Redux

River “Who are you? Why did you come?”
Delaware “Same reason as you. Doctor Song. Amy. Rory. I’m Canton Everett Delaware the third. I won’t be seeing you again but you’ll be seeing me.”

The Impossible Astronaut

In the rewatch of the final episode of Series Five “The Big Bang”, I struggled (only a little) with the fact that the narrative of the story was not linear. Not so much about any intrinsic complexity that may have been hard to comprehend but instead the fact that to weave time travel so tightly into the story gives the writer an infinite number of cop-outs to get out of a hole. Now, I have to say that Mr Moffat is a master of this. He does not, from my perspective, shoe-horn a cop-out slice of timey-wimey fluff into a situation simply because he’s written himself in to a corner. Rather, he glories in the absurdity of it all. Welcome to Series Six, which begins with the Doctor dying and as Canton Delaware III tells us, “That is most definitely the Doctor and he is most definitely dead” as he lies on a Utah shoreline at the end of his 1,103 year life. To say that the series had been much anticipated, is something of an understatement. There was a deliberate exercise to mislead the viewer both on and off screen, which I can understand might upset a few folk, and all the preamble I remember being there to heighten the anticipation. However, we were brought back to reality with a bump at the start of things with a dedication to the late, great Liz Sladen. (I wrote a few words at the time, about the impact that this great matriarch of Doctor Who had on my life over on my personal blog, for those who want to read it). Continue reading

“The Big Bang” – Review: Redux

Professor River Song “Right, I have questions. But number one is this: what in the name of sanity have you got on your head?”
The Doctor “It’s a fez, I wear a fez now. Fezes are cool.”

The Big Bang

So, here we are at the end of The Moff’s first series in charge and we’re waiting to see just how the Doctor is going to get out of the Pandorica in which he was trapped by the alliance. The answer it turns out was funny, exciting, thrilling and, yet, a little bit unsatisfactory. This is where it starts to feel like the story, while brilliantly written, might be seen as being a bit too clever for its own good. The first shock is that it is that two-thousand years later, as the Pandorica rests in the National Museum, that it is not the Doctor but Amy who appears in the Pandorica after it’s been opened by little Amelia. We get a non-linear story to try and get our collective heads around as the Doctor from the future jumps back in time to instruct Rory how to open the “box” to free his younger self and replace him with Amy, who can later be restored. To dismiss the paradox (that the Doctor must’ve escaped from the Pandorica *before* being able to go back and instruct Rory how to fashion his escape) in such an off-hand way effectively gives rise to the notion that he could always do things like that to get out of perilous situations. As a one-off it is justifiable, but as a repeatable process it might become tiresome quite quickly. Continue reading

“The Pandorica Opens” – Review: Redux

Rory “I died and turned in to a Roman. It’s very distracting”

The Pandorica Opens

The season finale of Series Five begins with the longest pre-title sequence yet seen; it takes so long for the titles to arrive that you feel like you’re half way through the episode already. This, of course, may also be due to the fact that so much is packed into that sequence. Following on from “Time of Angels” and setting the scene for future stories when the two time travellers (the Doctor and River) arrange to meet, there are a series of wonderful little, for want of a better word, minisodes. The central conceit being the question of how to two people out of sync with one another arrange to meet up? The variety of ways of answering that question that are sprinkled liberally throughout Moffat-era Who, are always fun. Here we get a painting made by van Gogh in his fugue state, being found by Bracewell and Churchill, who, on the advice of River leaves it in the Queen’s estate all the way through to the reign of Liz Ten, where (after a small detour to obtain Captan Jack Harkness’s vortex manipulator via Dorium Maldovar), it is stolen by River herself, who carves a message along with necessary coordinates on the oldest cliff-face in the universe where it waits for the Doctor to come and translate it, before the final meeting in Roman Britain. Continue reading