So, just watched "The Time Of The Doctor"...
...and it was a great episode, but sweet Christmas (pun fully intended) was it emotional.
I think in terms of closing out Eleven's time as the Doctor, it was a perfect sort of closing. First off, it managed to tie up the loose ends of Eleven's time as the Doctor beautifully -- for example, the matter of "Doctor who?" and how Clara manages to ultimately solve the problem. One could say that it's a bit cheesy in how it's wrapped up, but the way that Jenna Louise-Coleman delivers the speech is just beautiful, in my opinion. Doctor Who is a perfectly cast show in general, I think, and this is one of those moments where it really shows, to be honest. Because Jenna Louise-Coleman did beautifully, to be perfectly honest. And the fact that it manages to contribute in terms of helping close the loose cracks in time makes it all the more awesome. It really was a moment that could have come off as unbelievably cheesy, but the music and Jenna Louise-Coleman's performance really sells it and makes it work. It's really one of the many strengths of Doctor Who, I think -- it's a show with moments that could be cheesy, but it really, honestly, makes them work. Because they've got great writers on there, great actors, a great composer in Murray Gold, and...well, they manage to pull them off beautifully. That and the matter of Clara and Eleven's relationship in the episode -- I can't say that I'm exactly a "Whouffle" shipper, as it's called (it's a cute relationship, but Doctor/Rose and Doctor/River kind of take precedence in my heart), but their relationship in this episode was just lovely. For example, their talk on the balcony in the town of Christmas (yes, there's a town called Christmas. It's actually on the planet of Trenzalore, but...yeah, I obviously saw The Nightmare Before Christmas way before this one, so I was tempted to make a Christmastown joke there) and the matter of the Doctor growing old and dying -- and the Doctor saying that he really has only thirteen regenerations total. I think it was definitely Matt Smith and Jenna Louise Coleman's acting that really sold me on the scene, plus the music -- that and I really loved how Moffat took some time to have a quiet moment between the two of them before the Battle of Trenzalore begins again. That and the fact that Eleven's actually acknowledging the War Doctor, which really speaks to how far the Doctor's come -- I mean, his previous incarnations couldn't really bear to acknowledge the War Doctor. I think it might have been because they couldn't really imagine themselves doing what he did, and they couldn't really bear to live with themselves after such an act. And the Moment even says to the War Doctor that that would be his punishment -- getting to live. And in a way, he broke the Promise quite literally; "never cowardly or cruel" -- because while he wasn't cowardly in the slightest ("cowardly" means running because you're afraid -- which I think is a very normal, sort of human reaction and while not exactly honorable, it's understandable -- while War didn't run out of fear, but just out of grief and despair), he was arguably cruel (albeit for understandable reasons), and in terms of giving up...well, he crossed the Despair Event Horizon. It really took The Moment and Clara both to make him realize that there was hope left. And I think in hindsight, with his conversation with the Master in "The Sound of Drums" when the Master mentioned why he ran...well, I think in a way, Ten could sympathize with him. Because he had been there before. Not referring to the altered timeline, obviously, but to that moment when he crossed the Despair Event Horizon. And...well, I'm going to go back to Classic Who for a bit (as if we don't have enough rambling already, and I'm sorry -- I just really love putting all this together) -- apparently, one twist involving the Master's would-be final story (where he sacrificed himself to save the Doctor's life, which...let's say it was scrapped after Roger Delgado, the actor playing the Master at the time, died in a car accident) would be he and the Doctor turning out to be two halves of the same person (and another where they turned out to be siblings, which Russell T. Davies made fun of a bit in "The Sound of Drums", what with Martha asking if the Master was the Doctor's secret brother, and the Doctor saying -- affectionately -- that she's been watching too much TV) -- I believe the Doctor Who Vault book I own (which was released in honor of the 50th anniversary) described it as sort of like the movie Forbidden Planet. (I think there was a quote in there describing it as such anyhow). But I think in a way, even though it ultimately wasn't kept -- obviously -- it's still very obvious in the show, them being mirror images of one another. And I think it's one of many reasons why the Doctor wanted to help him -- besides him being very much grief-stricken and guilt-stricken over Gallifrey, and generally just being a kind, caring, loving person -- because in a way, he and the Master are very much alike. I can picture Ten just listening to the Master's story and just remembering stuff like Arcadia, going off to use the Moment if only to end the War (and stop Rassilon and the Daleks both) -- and pitying the Master because in a way, he would have done the same thing. It's definitely one of those instances where what's revealed in "Day of the Doctor" makes something Harsher in Hindsight.
But yeah -- and I'm sorry I rambled. Call it just something that occurred to me while I was writing up my review -- I think in a way, just Eleven acknowledging that War was a regeneration, even if he didn't call himself the Doctor (and I have a feeling that there was another reason War didn't call himself the Doctor: because he probably felt that, after Cass' death, they didn't need a doctor, but a warrior. That and he probably felt that the Doctor as a whole couldn't possibly do half the things he had done) is definitely a sign that the Doctor as a whole is healing.
I also loved the scene with Eleven and Clara shouting at one another when Eleven sends her away at one point before hugging -- that was definitely a beautiful scene. And when Clara witnesses him regenerating -- again, the acting definitely sells it, as well as the Doctor's speech about being different people throughout your life, but never really forgetting who you were before. Which was really poignant because in a way, and I never really thought of it like that before, to be perfectly honest, you really are different people throughout your life -- you don't change your face (well, most of the time), but you definitely go through some degree of Character Development based on who you were before, what you experienced -- it does kind of feel like you are a different person. I know, for example, my 2011 self -- well, sometimes I look back at my 2011 self and it feels a hell of a lot like Early Installment Weirdness. Who I am now hadn't really settled yet. And there's certain beliefs that you had in the past that you don't have now, stuff like that. It's kind of funny -- I've been analyzing all sorts of symbolism and rhyming scenes and stuff like that in Doctor Who (and I recognize it probably does sound a lot like I'm reading too much into things, but it's really just because...well, it's one of those ways I express my love for the show. Because it's not just a story about a madman in a box. There's really a lot of meaning and depth in it), but I never really thought of the regenerations being kind of...well, a bit of a tie to who we are as people, in a way. I also thought it was beautiful because it sort of was like Matt Smith trying to reassure the viewers that it's okay, that just because Eleven's regenerating (and I will admit...it really won't be the same without the madman with the bowtie. It really won't) doesn't mean it's the end. And Clara's reaction -- well, again, great acting from Jenna Louise-Coleman. Then again, she is a fantastic actress. Seriously, all the actors in Doctor Who are perfectly cast and talented, and they're one of the many things that make the show. Because Jenna...well, she manages to say so much with just her eyes alone. Her looking up while the Doctor projects his regeneration energy up at the opposing Dalek ships (yes, seriously, he does that, and it is awesome) with tears running down her cheeks earlier, and later, in the TARDIS, when he's regenerating, and she's watching and pleading with him not to leave...yeah. I think, however, it was the moment that he started hallucinating Amy that I started crying. I was already moved with the regeneration scene in general, but it was just seeing Amy again, little Amy in the TARDIS for one thing and older Amy coming down the stairs -- well, first, I didn't see it coming, I really didn't. I didn't think that Karen Gillan and Caitlyn Blackwood would be making surprise cameos. And second, I think it allows for a really lovely bookend for Eleven, to be perfectly honest. The very first face he ever saw was young Amelia Pond. And the last face he saw (well, besides Clara) was Amy again. And what she says...Karen Gillan really has only one line in this episode -- obviously -- but it's a very beautiful line and a good mirror to what Amy said in "The Angels Take Manhattan" -- here, it's "Raggedy man, goodnight."
I think it's a good mirror because, besides the word change, it's also a change in tone -- while Amy was pretty much grieving if determined in "The Angels Take Manhattan" (because a world without Rory, for her, couldn't possibly be real), here...well, she's comforting the Doctor. That and there's the matter of her touching the Doctor's face, and the Doctor's reaching out to her -- but he's really touching thin air. Which even typing this out is really goddamn sad. Here, have a puppy: http://www.hdwallpapersinn.com/wp-content/uploads/2013/12/Christmas-Puppy.jpg
Although it did turn to funny shortly after the regeneration with Peter Capaldi's appearance, and may I say that as much as I'm going to miss Eleven, Twelve (or Thirteen, whatever) has just won me over immediately. His whole "I've got new kidneys" thing as well as asking Clara if she knew how to fly the TARDIS -- yeah, seriously, that was hilarious, and it endeared me to Twelve immediately. I really don't know about you, but I'm definitely excited to watch his episodes. (Then again, I could be a tad biased because I saw him in both "The Fires of Pompeii" and Torchwood: Children of Earth * and I loved him) Interesting thing is that according to Moffat, they're not going to overlook Peter Capaldi's previous appearances on both Doctor Who and Torchwood. It's going to be a bit awkward, all things considering, because while his part on Doctor Who was a bit part (and actors on Doctor Who have gone on from playing bit parts to playing major parts -- see also Freema Agyeman, Eve Myles, Karen Gillan, and Peter Davison), let's just say on Torchwood, he plays one of the antagonists who...well, let's say that his part in Torchwood is probably going to be a challenge for Moffat to reconcile along with Caecilius. I guess they're sort of Identical Descendants or something (after all, that was what RTD said regarding Caecilius and Frobisher. And let's say that how he links Caecilius and Frobisher...well, it makes me feel worse for both of them than I already did), but I guess I'll have to wait and see what comes up.
Speaking of tying up loose ends, I really liked the whole Start of Darkness thing (basically) that Moffat gave for the Silence and Madame Kovarian. I mean, when they first showed up in Series 6...let's be honest, while they were good villains, they weren't exactly what you call complex villains. They were just there to want the Doctor dead, kidnap Amy and force her to give her child up to be a Tyke Bomb, kidnap said Tyke Bomb and try and force her to kill the Doctor when said Tyke Bomb actually decides to get free will, and be, in the case of the Silence, occasionally petty assholes just to reinforce the fact that these guys are evil ** (see also killing poor Joy in "The Impossible Astronaut/Day of the Moon" and mocking Canton when he tries healing one of them). But here...Moffat actually gave them a reason to want the Doctor dead. It was kind of alluded to in Series Six, but it was definitely explained very well here -- basically, an old friend of the Doctor's (who later turns out to have died a long while ago, although the Daleks have kind of used her body as a host, but she manages to fight it from the inside and become a useful ally. Yeah, it's complicated, though awesome) who set up this sort of church and has been trying vainly to avoid the Doctor saying his name and basically unleashing destruction on everything, and then comes into conflict with the Doctor, and she's determined, along with the church, to avoid bringing death and destruction on them all, so she sets up the church dedicated to that (it even sort of mirrors Rassilon's speech to the High Council in "The End of Time", staging and all, although one can say she's much nicer than Rassilon. I mean, at least she had good intentions at heart) and there's this one faction, the Kovarian Chapter (another sort of reference to the Time Lords because the Time Lords had chapterhouses. Chapterhouses, chapters...I'm pretty sure that's not a coincidence) that just goes too far with this and decides to keep the Doctor from even so much as reaching Trenzalore in the first place, which, of course, sets up the events of Series 5 and Series 6. I actually said at one point (because I honestly thought that Tasha Lem -- that's the name of the Doctor's old friend -- was Madame Kovarian when things started getting really bad), "Congratulations, Doctor, you've just created Madame Kovarian!" And I even had this sort of story floating around in my head as to why Kovarian would want the Doctor dead -- basically, because War (before I found out he was War; I really thought he was the Valeyard when he was first revealed in "The Name of the Doctor". I was obviously wrong) sort of created her thanks to a mistake he made. Well...different Doctor, obviously, different circumstances, but it was the case. But yeah, I really like how Moffat decided to give reasons and shades of gray to the Silence; the Kovarian Chapter isn't doing this because they're evil (at first; I think by "Closing Time", they've pretty much thrown whatever good intentions they had out the window); they're doing this because they're serving the grand cause, and they think it's what's right. They're soldiers, in a way. They also happen to be scumbags. And hell, there's actually a moment in "The Time of the Doctor" where the Doctor and the Silence are fighting side by side against the Daleks. I know that was one of those moments that made me go, "Holy shit, this is fucking awesome!" Not just because of the epic quality of it, but because it introduced a sort of shade of gray in a predominantly evil sort of series of antagonists. And it makes sense in a way because they are, fundamentally, trying to preserve the order of things. Given that they've ruled "from the fire and the wheel", I can only assume that the Silence themselves have been there not just as the genetically engineered priests as Eleven mentions (also, apparently, they make you forget immediately after you confess your sins. A blessing and a curse all at once, I can imagine) but also guardians of time. Keeping everything in place while all the while, making sure people don't realize they're doing it. Sort of like Time Lords, in a way. Even the Kovarian Chapter believes that they're doing the right thing. And there's the matter of them trying to prevent the Time War as well, which, considering what was mentioned in the RTD era about the abominations that were born there, people dying horribly, etc...no wonder Tasha Lem and the Silence wanted to prevent it. So yeah, definite kudos, Moffat, for how you explained the Silence. Seriously. And adding shades of gray to them.
(Although it also lends a Nice Job Breaking It Hero to Eleven's actions in "The Impossible Astronaut/Day of the Moon". Seriously, Eleven, you were definitely trying to free people, yeah, but I have a feeling that you might have fucked up royally)
I also loved how Moffat tied up the matter of the cracks in the universe, and referenced the matter of what could happen if the Time Lords came through -- although, still no Rassilon. I'm guessing Timothy Dalton wasn't available to reprise his role. I guess I'm just sort of discontent with this because it was a fairly big part of the TIme War, and I don't know why Moffat's just overlooking it like that. I mean, he was the reason why the Doctor did what he did in the first place, and a major part of why the Master was who he was. Still, I'm definitely glad they mentioned the matter of what could happen if the Time Lords got through, as well as the matter of just adding to why the Silence really wanted the Doctor dead, as I mentioned above. Again, great shades of gray there, Moffat -- and even what was in the Doctor's room in "The God Complex" -- that very crack with the Time Lords possibly breaking through and starting the Time War again. I guess in a way it lends some Fridge Brilliance, real and metaphorical, to his greatest fear -- he was still scared about the Silence, obviously, and he was scared about, possibly, the Time War coming back. The metaphorical part being...well, just because Eleven acts like everything's okay and he's moved on doesn't mean he actually did. He was still carrying some baggage around. Hopefully as Twelve (or Thirteen, whatever), things will get better for him. (After all, Gallifrey is back, and possibly with non-evil Time Lords as well. I mean, to quote Donna Noble, isn't that good?)
In terms of other scenes that I really liked, I liked the matter of Eleven's interactions with the village. I loved how he just stayed there, for so many years -- seriously, he's an old man by the time of his regeneration, really -- just protecting the town, protecting the kids, if only because it's just what Eleven does, it's what the Doctor's always done. Protected people, defended them. It definitely seems fitting that Eleven would spend most of his final years there. And I think we were all speculating about how Eleven would die, but...well, I don't think any of us really envisioned him living to old age. I mean, Nine and Ten both died pretty young, which I think made their regenerations all the more painful. At least with Eleven, he got to live most of his final years defending this village against the threats that came through. And I love the detail of him having those bits of...I think it was little kids' artwork, just hanging around his room and all. Something about that detail just made me go, "D'awwww." Also, when Clara comes back to him when he's an old man, and he comments on how she's still very young...that was another touching moment. Like I said, loved Clara and Eleven's relationship in that scene. And how Eleven went out...my God that was awesome.
I also loved the bits of humor in the episode, like with Clara's family (because they're adorable), Clara having to invent a story about the Doctor being her boyfriend, Clara and the Doctor trying to have a cover story on Trenzalore and failing miserably thanks to the anti-lie thing that Tasha Lem put up (also known as, in hindsight, Tasha Lem, you are amazing, you are. <3 Seriously, woman's a BAMF.), the Doctor and Clara having to go naked to church, and again, the Peter Capaldi regeneration thing. Also, the grandmother bemoaning the lack of jokes in the Christmas crackers (and I have to agree. Let's say that the jokes in Christmas crackers are just so lame that they're pretty endearing, really. :) as well as when she's telling the story of how she met her husband (also a Crowning Moment of Heartwarming) and one of the people at the table is bugging her to talk about the pigeon that she saw once. Also, Clara using the TARDIS to cook the Christmas turkey. And the moments of awesome, like how the Doctor went out, how Clara ultimately managed to avoid that whole "Doctor who?" problem, and Tasha Lem -- first the Doctor sort of snapping her back to who she was just by...well, getting under her skin, shall we say, and Tasha Lem just setting Daleks on fire and managing to fly the TARDIS to get Clara's help to save the Doctor (I'd honestly love to learn more about Tasha Lem. Seriously, she's awesome. <3), as well as bantering with the Doctor a bit.
Honestly, it was an amazing episode. Sad at times, but amazing.
* Which, while good, is really fucking depressing. I mean, the acting is great and the emotional moments are phenomenal and the dialogue is awesome and the monsters would almost put Moffat's to shame (I say "almost" because let's say that RTD and Moffat's monsters...it's really hard to decide which ones are scarier because both RTD and Moffat are really good at scaring the shit out of people. Moffat just tends to go for "the boogeyman" and "the creepy thing that wasn't here yesterday" and RTD tends to go for Body Horror and the sort of monster that's frightening because in a way, it's a reflection of our darker selves) and the social commentary is excellent and the characters are fantastic and I actually recall being so sucked into the story I stayed up late watching episodes on my iPhone just to finish it -- but holy fucking shit is it sad.
** Seriously, I just kind of am not a fan of that. I think the "they're a nasty piece of work" is definitely good enough for a villain, really; one doesn't have to add, say, pettiness to establish the fact that they're evil.
So overall? I loved it. It had problems here and there, but overall, it was an amazing episode and a wonderful send-off to Eleven. I'm going to miss him, I really am, but I am definitely excited for what Peter Capaldi has in store for us.
Merry Christmas, everyone!
I think in terms of closing out Eleven's time as the Doctor, it was a perfect sort of closing. First off, it managed to tie up the loose ends of Eleven's time as the Doctor beautifully -- for example, the matter of "Doctor who?" and how Clara manages to ultimately solve the problem. One could say that it's a bit cheesy in how it's wrapped up, but the way that Jenna Louise-Coleman delivers the speech is just beautiful, in my opinion. Doctor Who is a perfectly cast show in general, I think, and this is one of those moments where it really shows, to be honest. Because Jenna Louise-Coleman did beautifully, to be perfectly honest. And the fact that it manages to contribute in terms of helping close the loose cracks in time makes it all the more awesome. It really was a moment that could have come off as unbelievably cheesy, but the music and Jenna Louise-Coleman's performance really sells it and makes it work. It's really one of the many strengths of Doctor Who, I think -- it's a show with moments that could be cheesy, but it really, honestly, makes them work. Because they've got great writers on there, great actors, a great composer in Murray Gold, and...well, they manage to pull them off beautifully. That and the matter of Clara and Eleven's relationship in the episode -- I can't say that I'm exactly a "Whouffle" shipper, as it's called (it's a cute relationship, but Doctor/Rose and Doctor/River kind of take precedence in my heart), but their relationship in this episode was just lovely. For example, their talk on the balcony in the town of Christmas (yes, there's a town called Christmas. It's actually on the planet of Trenzalore, but...yeah, I obviously saw The Nightmare Before Christmas way before this one, so I was tempted to make a Christmastown joke there) and the matter of the Doctor growing old and dying -- and the Doctor saying that he really has only thirteen regenerations total. I think it was definitely Matt Smith and Jenna Louise Coleman's acting that really sold me on the scene, plus the music -- that and I really loved how Moffat took some time to have a quiet moment between the two of them before the Battle of Trenzalore begins again. That and the fact that Eleven's actually acknowledging the War Doctor, which really speaks to how far the Doctor's come -- I mean, his previous incarnations couldn't really bear to acknowledge the War Doctor. I think it might have been because they couldn't really imagine themselves doing what he did, and they couldn't really bear to live with themselves after such an act. And the Moment even says to the War Doctor that that would be his punishment -- getting to live. And in a way, he broke the Promise quite literally; "never cowardly or cruel" -- because while he wasn't cowardly in the slightest ("cowardly" means running because you're afraid -- which I think is a very normal, sort of human reaction and while not exactly honorable, it's understandable -- while War didn't run out of fear, but just out of grief and despair), he was arguably cruel (albeit for understandable reasons), and in terms of giving up...well, he crossed the Despair Event Horizon. It really took The Moment and Clara both to make him realize that there was hope left. And I think in hindsight, with his conversation with the Master in "The Sound of Drums" when the Master mentioned why he ran...well, I think in a way, Ten could sympathize with him. Because he had been there before. Not referring to the altered timeline, obviously, but to that moment when he crossed the Despair Event Horizon. And...well, I'm going to go back to Classic Who for a bit (as if we don't have enough rambling already, and I'm sorry -- I just really love putting all this together) -- apparently, one twist involving the Master's would-be final story (where he sacrificed himself to save the Doctor's life, which...let's say it was scrapped after Roger Delgado, the actor playing the Master at the time, died in a car accident) would be he and the Doctor turning out to be two halves of the same person (and another where they turned out to be siblings, which Russell T. Davies made fun of a bit in "The Sound of Drums", what with Martha asking if the Master was the Doctor's secret brother, and the Doctor saying -- affectionately -- that she's been watching too much TV) -- I believe the Doctor Who Vault book I own (which was released in honor of the 50th anniversary) described it as sort of like the movie Forbidden Planet. (I think there was a quote in there describing it as such anyhow). But I think in a way, even though it ultimately wasn't kept -- obviously -- it's still very obvious in the show, them being mirror images of one another. And I think it's one of many reasons why the Doctor wanted to help him -- besides him being very much grief-stricken and guilt-stricken over Gallifrey, and generally just being a kind, caring, loving person -- because in a way, he and the Master are very much alike. I can picture Ten just listening to the Master's story and just remembering stuff like Arcadia, going off to use the Moment if only to end the War (and stop Rassilon and the Daleks both) -- and pitying the Master because in a way, he would have done the same thing. It's definitely one of those instances where what's revealed in "Day of the Doctor" makes something Harsher in Hindsight.
But yeah -- and I'm sorry I rambled. Call it just something that occurred to me while I was writing up my review -- I think in a way, just Eleven acknowledging that War was a regeneration, even if he didn't call himself the Doctor (and I have a feeling that there was another reason War didn't call himself the Doctor: because he probably felt that, after Cass' death, they didn't need a doctor, but a warrior. That and he probably felt that the Doctor as a whole couldn't possibly do half the things he had done) is definitely a sign that the Doctor as a whole is healing.
I also loved the scene with Eleven and Clara shouting at one another when Eleven sends her away at one point before hugging -- that was definitely a beautiful scene. And when Clara witnesses him regenerating -- again, the acting definitely sells it, as well as the Doctor's speech about being different people throughout your life, but never really forgetting who you were before. Which was really poignant because in a way, and I never really thought of it like that before, to be perfectly honest, you really are different people throughout your life -- you don't change your face (well, most of the time), but you definitely go through some degree of Character Development based on who you were before, what you experienced -- it does kind of feel like you are a different person. I know, for example, my 2011 self -- well, sometimes I look back at my 2011 self and it feels a hell of a lot like Early Installment Weirdness. Who I am now hadn't really settled yet. And there's certain beliefs that you had in the past that you don't have now, stuff like that. It's kind of funny -- I've been analyzing all sorts of symbolism and rhyming scenes and stuff like that in Doctor Who (and I recognize it probably does sound a lot like I'm reading too much into things, but it's really just because...well, it's one of those ways I express my love for the show. Because it's not just a story about a madman in a box. There's really a lot of meaning and depth in it), but I never really thought of the regenerations being kind of...well, a bit of a tie to who we are as people, in a way. I also thought it was beautiful because it sort of was like Matt Smith trying to reassure the viewers that it's okay, that just because Eleven's regenerating (and I will admit...it really won't be the same without the madman with the bowtie. It really won't) doesn't mean it's the end. And Clara's reaction -- well, again, great acting from Jenna Louise-Coleman. Then again, she is a fantastic actress. Seriously, all the actors in Doctor Who are perfectly cast and talented, and they're one of the many things that make the show. Because Jenna...well, she manages to say so much with just her eyes alone. Her looking up while the Doctor projects his regeneration energy up at the opposing Dalek ships (yes, seriously, he does that, and it is awesome) with tears running down her cheeks earlier, and later, in the TARDIS, when he's regenerating, and she's watching and pleading with him not to leave...yeah. I think, however, it was the moment that he started hallucinating Amy that I started crying. I was already moved with the regeneration scene in general, but it was just seeing Amy again, little Amy in the TARDIS for one thing and older Amy coming down the stairs -- well, first, I didn't see it coming, I really didn't. I didn't think that Karen Gillan and Caitlyn Blackwood would be making surprise cameos. And second, I think it allows for a really lovely bookend for Eleven, to be perfectly honest. The very first face he ever saw was young Amelia Pond. And the last face he saw (well, besides Clara) was Amy again. And what she says...Karen Gillan really has only one line in this episode -- obviously -- but it's a very beautiful line and a good mirror to what Amy said in "The Angels Take Manhattan" -- here, it's "Raggedy man, goodnight."
I think it's a good mirror because, besides the word change, it's also a change in tone -- while Amy was pretty much grieving if determined in "The Angels Take Manhattan" (because a world without Rory, for her, couldn't possibly be real), here...well, she's comforting the Doctor. That and there's the matter of her touching the Doctor's face, and the Doctor's reaching out to her -- but he's really touching thin air. Which even typing this out is really goddamn sad. Here, have a puppy: http://www.hdwallpapersinn.com/wp-content/uploads/2013/12/Christmas-Puppy.jpg
Although it did turn to funny shortly after the regeneration with Peter Capaldi's appearance, and may I say that as much as I'm going to miss Eleven, Twelve (or Thirteen, whatever) has just won me over immediately. His whole "I've got new kidneys" thing as well as asking Clara if she knew how to fly the TARDIS -- yeah, seriously, that was hilarious, and it endeared me to Twelve immediately. I really don't know about you, but I'm definitely excited to watch his episodes. (Then again, I could be a tad biased because I saw him in both "The Fires of Pompeii" and Torchwood: Children of Earth * and I loved him) Interesting thing is that according to Moffat, they're not going to overlook Peter Capaldi's previous appearances on both Doctor Who and Torchwood. It's going to be a bit awkward, all things considering, because while his part on Doctor Who was a bit part (and actors on Doctor Who have gone on from playing bit parts to playing major parts -- see also Freema Agyeman, Eve Myles, Karen Gillan, and Peter Davison), let's just say on Torchwood, he plays one of the antagonists who...well, let's say that his part in Torchwood is probably going to be a challenge for Moffat to reconcile along with Caecilius. I guess they're sort of Identical Descendants or something (after all, that was what RTD said regarding Caecilius and Frobisher. And let's say that how he links Caecilius and Frobisher...well, it makes me feel worse for both of them than I already did), but I guess I'll have to wait and see what comes up.
Speaking of tying up loose ends, I really liked the whole Start of Darkness thing (basically) that Moffat gave for the Silence and Madame Kovarian. I mean, when they first showed up in Series 6...let's be honest, while they were good villains, they weren't exactly what you call complex villains. They were just there to want the Doctor dead, kidnap Amy and force her to give her child up to be a Tyke Bomb, kidnap said Tyke Bomb and try and force her to kill the Doctor when said Tyke Bomb actually decides to get free will, and be, in the case of the Silence, occasionally petty assholes just to reinforce the fact that these guys are evil ** (see also killing poor Joy in "The Impossible Astronaut/Day of the Moon" and mocking Canton when he tries healing one of them). But here...Moffat actually gave them a reason to want the Doctor dead. It was kind of alluded to in Series Six, but it was definitely explained very well here -- basically, an old friend of the Doctor's (who later turns out to have died a long while ago, although the Daleks have kind of used her body as a host, but she manages to fight it from the inside and become a useful ally. Yeah, it's complicated, though awesome) who set up this sort of church and has been trying vainly to avoid the Doctor saying his name and basically unleashing destruction on everything, and then comes into conflict with the Doctor, and she's determined, along with the church, to avoid bringing death and destruction on them all, so she sets up the church dedicated to that (it even sort of mirrors Rassilon's speech to the High Council in "The End of Time", staging and all, although one can say she's much nicer than Rassilon. I mean, at least she had good intentions at heart) and there's this one faction, the Kovarian Chapter (another sort of reference to the Time Lords because the Time Lords had chapterhouses. Chapterhouses, chapters...I'm pretty sure that's not a coincidence) that just goes too far with this and decides to keep the Doctor from even so much as reaching Trenzalore in the first place, which, of course, sets up the events of Series 5 and Series 6. I actually said at one point (because I honestly thought that Tasha Lem -- that's the name of the Doctor's old friend -- was Madame Kovarian when things started getting really bad), "Congratulations, Doctor, you've just created Madame Kovarian!" And I even had this sort of story floating around in my head as to why Kovarian would want the Doctor dead -- basically, because War (before I found out he was War; I really thought he was the Valeyard when he was first revealed in "The Name of the Doctor". I was obviously wrong) sort of created her thanks to a mistake he made. Well...different Doctor, obviously, different circumstances, but it was the case. But yeah, I really like how Moffat decided to give reasons and shades of gray to the Silence; the Kovarian Chapter isn't doing this because they're evil (at first; I think by "Closing Time", they've pretty much thrown whatever good intentions they had out the window); they're doing this because they're serving the grand cause, and they think it's what's right. They're soldiers, in a way. They also happen to be scumbags. And hell, there's actually a moment in "The Time of the Doctor" where the Doctor and the Silence are fighting side by side against the Daleks. I know that was one of those moments that made me go, "Holy shit, this is fucking awesome!" Not just because of the epic quality of it, but because it introduced a sort of shade of gray in a predominantly evil sort of series of antagonists. And it makes sense in a way because they are, fundamentally, trying to preserve the order of things. Given that they've ruled "from the fire and the wheel", I can only assume that the Silence themselves have been there not just as the genetically engineered priests as Eleven mentions (also, apparently, they make you forget immediately after you confess your sins. A blessing and a curse all at once, I can imagine) but also guardians of time. Keeping everything in place while all the while, making sure people don't realize they're doing it. Sort of like Time Lords, in a way. Even the Kovarian Chapter believes that they're doing the right thing. And there's the matter of them trying to prevent the Time War as well, which, considering what was mentioned in the RTD era about the abominations that were born there, people dying horribly, etc...no wonder Tasha Lem and the Silence wanted to prevent it. So yeah, definite kudos, Moffat, for how you explained the Silence. Seriously. And adding shades of gray to them.
(Although it also lends a Nice Job Breaking It Hero to Eleven's actions in "The Impossible Astronaut/Day of the Moon". Seriously, Eleven, you were definitely trying to free people, yeah, but I have a feeling that you might have fucked up royally)
I also loved how Moffat tied up the matter of the cracks in the universe, and referenced the matter of what could happen if the Time Lords came through -- although, still no Rassilon. I'm guessing Timothy Dalton wasn't available to reprise his role. I guess I'm just sort of discontent with this because it was a fairly big part of the TIme War, and I don't know why Moffat's just overlooking it like that. I mean, he was the reason why the Doctor did what he did in the first place, and a major part of why the Master was who he was. Still, I'm definitely glad they mentioned the matter of what could happen if the Time Lords got through, as well as the matter of just adding to why the Silence really wanted the Doctor dead, as I mentioned above. Again, great shades of gray there, Moffat -- and even what was in the Doctor's room in "The God Complex" -- that very crack with the Time Lords possibly breaking through and starting the Time War again. I guess in a way it lends some Fridge Brilliance, real and metaphorical, to his greatest fear -- he was still scared about the Silence, obviously, and he was scared about, possibly, the Time War coming back. The metaphorical part being...well, just because Eleven acts like everything's okay and he's moved on doesn't mean he actually did. He was still carrying some baggage around. Hopefully as Twelve (or Thirteen, whatever), things will get better for him. (After all, Gallifrey is back, and possibly with non-evil Time Lords as well. I mean, to quote Donna Noble, isn't that good?)
In terms of other scenes that I really liked, I liked the matter of Eleven's interactions with the village. I loved how he just stayed there, for so many years -- seriously, he's an old man by the time of his regeneration, really -- just protecting the town, protecting the kids, if only because it's just what Eleven does, it's what the Doctor's always done. Protected people, defended them. It definitely seems fitting that Eleven would spend most of his final years there. And I think we were all speculating about how Eleven would die, but...well, I don't think any of us really envisioned him living to old age. I mean, Nine and Ten both died pretty young, which I think made their regenerations all the more painful. At least with Eleven, he got to live most of his final years defending this village against the threats that came through. And I love the detail of him having those bits of...I think it was little kids' artwork, just hanging around his room and all. Something about that detail just made me go, "D'awwww." Also, when Clara comes back to him when he's an old man, and he comments on how she's still very young...that was another touching moment. Like I said, loved Clara and Eleven's relationship in that scene. And how Eleven went out...my God that was awesome.
I also loved the bits of humor in the episode, like with Clara's family (because they're adorable), Clara having to invent a story about the Doctor being her boyfriend, Clara and the Doctor trying to have a cover story on Trenzalore and failing miserably thanks to the anti-lie thing that Tasha Lem put up (also known as, in hindsight, Tasha Lem, you are amazing, you are. <3 Seriously, woman's a BAMF.), the Doctor and Clara having to go naked to church, and again, the Peter Capaldi regeneration thing. Also, the grandmother bemoaning the lack of jokes in the Christmas crackers (and I have to agree. Let's say that the jokes in Christmas crackers are just so lame that they're pretty endearing, really. :) as well as when she's telling the story of how she met her husband (also a Crowning Moment of Heartwarming) and one of the people at the table is bugging her to talk about the pigeon that she saw once. Also, Clara using the TARDIS to cook the Christmas turkey. And the moments of awesome, like how the Doctor went out, how Clara ultimately managed to avoid that whole "Doctor who?" problem, and Tasha Lem -- first the Doctor sort of snapping her back to who she was just by...well, getting under her skin, shall we say, and Tasha Lem just setting Daleks on fire and managing to fly the TARDIS to get Clara's help to save the Doctor (I'd honestly love to learn more about Tasha Lem. Seriously, she's awesome. <3), as well as bantering with the Doctor a bit.
Honestly, it was an amazing episode. Sad at times, but amazing.
* Which, while good, is really fucking depressing. I mean, the acting is great and the emotional moments are phenomenal and the dialogue is awesome and the monsters would almost put Moffat's to shame (I say "almost" because let's say that RTD and Moffat's monsters...it's really hard to decide which ones are scarier because both RTD and Moffat are really good at scaring the shit out of people. Moffat just tends to go for "the boogeyman" and "the creepy thing that wasn't here yesterday" and RTD tends to go for Body Horror and the sort of monster that's frightening because in a way, it's a reflection of our darker selves) and the social commentary is excellent and the characters are fantastic and I actually recall being so sucked into the story I stayed up late watching episodes on my iPhone just to finish it -- but holy fucking shit is it sad.
** Seriously, I just kind of am not a fan of that. I think the "they're a nasty piece of work" is definitely good enough for a villain, really; one doesn't have to add, say, pettiness to establish the fact that they're evil.
So overall? I loved it. It had problems here and there, but overall, it was an amazing episode and a wonderful send-off to Eleven. I'm going to miss him, I really am, but I am definitely excited for what Peter Capaldi has in store for us.
Merry Christmas, everyone!