O.K. First things first - I haven't got a clue how things are going to be resolved, and I'm not going to speculate (although based on past Steven Moffat scripts, any guess I made would probably be wrong). Having said that, I don't get why the episode is seen in some quarters as impossibly convulted and beyond the understanding of the average viewer. Just as The Big Bang was basically a space-time farce - if you could follow the plot of the average Fawlty Towers (or Coupling) episode, you could cope with this story. However, throw in a bit of "bumpity-wumpity, timey-wimey", and some people start assuming that things are ten times more complicated than they really are. Besides, this is "Part One" of a two-part story - of course, there are more questions than answers! If people don't think season openers should be this mysterious or confusing (particularly for casual viewers), could somebody who hasn't watched these stories (and is completly unspoiled) before watch the first two episodes of the (four-part) Remembrance of the Daleks and explain exactly what the Doctor is doing, what the "Hand of Omega" actually is, and how this all ties into the climax of the story? Quite honestly, part of the thrill of watching the classic series as a child was wondering not only how the previous episode's cliffhanger would resolve itself, but wondering exactly what the villain's plan was, and how the Doctor and his friends would stop it. For me, storywise, this is like the best of the good old days, with some 21st century twists.
Actually, the script was almost like a collaboration between classic Who's two finest writers - Robert Holmes and Douglas Adams. It might have been a bit talkier than the average season-opener, but Steven Moffat has cooked-up a story that has mixes Holmes' Gothic horror with Adams' imagination - and wit to match them both ("These are my top operatives: The Legs, The Nose and Mrs Robinson"). But back in the 1970s, Holmes and Adams could never dream of end results that looked so good. Having BBC America co-production money to allow a Utah location shoot certainly helps, yet that (and sterling work by production designer Michael Pickawoad and crew back in Cardiff) would mean nothing without Toby Haynes impeccable shot selection and Stephan Pehrsson's gorgeous photography (the shot of Rory, Amy, River and Old Canton watching the Doctor's funeral pyre as the sun goes down was simply breathtaking).
Haynes also gets terrific performances from the cast, particular the regulars. Matt Smith is balancing the seriousness and intelligence of the Doctor with his childlike behaviour and crazy humour in the way that Tom Baker managed at his finest (circa 1976-77). Alex Kingston continues to make me glad that Russell T. Davies didn't get his first choice for River - Kate Winslet. Nothing against Ms Winslet (who would have been excellent), but can you imagine getting her back year-after-year? And frankly, Alex Kingston nails the tough, flirty, smart, tragic River so well that it is impossible to imagine anyone else in her place. As for the first married couple in the Tardis, Karen Gillan has matured so much in the space of a year
, making the most of a script that gives new depth to Amy Pond. Equally, Arthur Darvill quietly makes the most of Rory's unassuming stoicism - he might still be a bit of a nervous "scaredy cat", but he has gained a bit of a backbone. No longer entirely useless, he might lack Amy's extrovert love of adventure, but he is the one who carries on when Amy is rendered helpless by grief ("Rory, what do we do?"), driven by a determination to do the right thing.
I'll leave any thoughts on the Silence until after the next episode, when we might have a few answers to some of our questions. Suffice to say, this is an episode that I have watched repeatedly, constantly amazed at how much is packed into a forty-five minute running time that simply flies by. I can't wait for Saturday!
Actually, the script was almost like a collaboration between classic Who's two finest writers - Robert Holmes and Douglas Adams. It might have been a bit talkier than the average season-opener, but Steven Moffat has cooked-up a story that has mixes Holmes' Gothic horror with Adams' imagination - and wit to match them both ("These are my top operatives: The Legs, The Nose and Mrs Robinson"). But back in the 1970s, Holmes and Adams could never dream of end results that looked so good. Having BBC America co-production money to allow a Utah location shoot certainly helps, yet that (and sterling work by production designer Michael Pickawoad and crew back in Cardiff) would mean nothing without Toby Haynes impeccable shot selection and Stephan Pehrsson's gorgeous photography (the shot of Rory, Amy, River and Old Canton watching the Doctor's funeral pyre as the sun goes down was simply breathtaking).
Haynes also gets terrific performances from the cast, particular the regulars. Matt Smith is balancing the seriousness and intelligence of the Doctor with his childlike behaviour and crazy humour in the way that Tom Baker managed at his finest (circa 1976-77). Alex Kingston continues to make me glad that Russell T. Davies didn't get his first choice for River - Kate Winslet. Nothing against Ms Winslet (who would have been excellent), but can you imagine getting her back year-after-year? And frankly, Alex Kingston nails the tough, flirty, smart, tragic River so well that it is impossible to imagine anyone else in her place. As for the first married couple in the Tardis, Karen Gillan has matured so much in the space of a year
, making the most of a script that gives new depth to Amy Pond. Equally, Arthur Darvill quietly makes the most of Rory's unassuming stoicism - he might still be a bit of a nervous "scaredy cat", but he has gained a bit of a backbone. No longer entirely useless, he might lack Amy's extrovert love of adventure, but he is the one who carries on when Amy is rendered helpless by grief ("Rory, what do we do?"), driven by a determination to do the right thing.
I'll leave any thoughts on the Silence until after the next episode, when we might have a few answers to some of our questions. Suffice to say, this is an episode that I have watched repeatedly, constantly amazed at how much is packed into a forty-five minute running time that simply flies by. I can't wait for Saturday!
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