“A Christmas Carol”
December 25th, 2010
My “first” experience with Doctor Who, at least more than off-handed glimpses of the Eccleston era, was “Waters of Mars.” I received the screener, watched the episode, and sort of decided that I should see more of what the series had to offer. My next step was, not shockingly, “The Next Doctor,” the first of the four Tennant Specials of which “Waters of Mars” was part.
It was my first, and to date “only,” experience with the Doctor Who Christmas Special, an interesting example of television form. They’re a sort of palate cleanser, a way to transfer smoothly from one series to the next: there’s no major plot developments, no huge shifts in character relationships, serving instead as a reminder of how much you like the series and how much you are anticipating its return later in 2011.
And yet, while “The Next Doctor” was definitely a Christmas episode, it was very much affected by the Tenth Doctor’s soul searching, a sort of existential crisis which made that Christmas special a transition into a very particular journey of identity and meaning in the specials which followed. By comparison, “A Christmas Carol” is unconcerned with all of it: writing his first such special, Steven Moffat uses Christmas as a source of whimsy and magic, heartbreak and memory, and a wonderful bit of storytelling from which it seems the season to follow will draw momentum if not necessarily inspiration.
Although I wouldn’t mind if it took some of that too, considering how much I enjoyed this return to Who-Ville.
“The Big Bang”
June 26th, 2010
While I never publicly agonized over it, the decision to watch Doctor Who’s fifth series (or first series of the Moffat era, if we want to get really complicated) on the British schedule was not an easy one: while a large part of my readership appear to have been watching at the same pace, making for lively conversations, I have not been making light of the ethical dilemmas therein in continuing to post in this fashion.
However, ultimately, I think Steven Moffat has created a season of television which demands to be watched as part of a collective audience, and as a newcomer to the series I feel as if I would have been lost had I been following the North American viewings. Commenters have been most kind at helping contextualize my experience with the series within the series’ larger framework, and the season has been so aggressively timey-wimey that there is a great value to be watching at the same pace as those who can help provide important context for what I’m experiencing. If I were three weeks behind, many of those fans may no longer be interested in these episodes, and I think this season would have been a much less enjoyable one as a critic.
“The Big Bang” is a story at once about the beginning and the end of the world, and yet it is a sparse story told using only a few primary characters as opposed to some sort of epic struggle. There is struggle, but it is struggle which unfolds between various different versions of the same characters over time as opposed to between a larger number of characters. And while there’s enough time travel to make your head spin, and it introduces various elements which border on dei ex machina, those elements are so intricately linked to these characters that they play out more like poetry than plot.
And through a small story with big consequences, “The Big Bang” stands as a conclusive finale which connects back which all which came before, an episode which solidifies the quality of the Eleventh Doctor, the importance of one Amy Pond, and the sheer potential which lies in the future with Moffat at the helm.
December 11th, 2008
If there is a recipe for a good Christmas episode, it’s primarily comprised of two things: heart and musical numbers. This is all I really ask for: a Christmas episode, even for a comedy, where Christmas is just a punchline and where nobody breaks out into song is just not the kind of lively affair that I want to see at this time of year. Thankfully for 30 Rock, they got the basics right: “Christmas Special” had plenty of heart, and featured a nice end-of-episode musical number that warmed the cockles of my overtired and somewhat chilly heart.
As far as episodes of 30 Rock go, it was par for the course: Jack is in full of neuroses move over his Mother’s arrival in town (and, worst of all, confined to bedrest with a bell at her side), Liz tries to do something good but lets her own neuroses lead her to doubt the spirit of Christmas and ruin it for two young children, and Tracy and Jenna are used as the entertaining sideshows we appreciate them as. Working in a nice number of secondary characters and some fun lines scattered throughout, a slow-starting episode finds its groove in a heartwarming ending to certainly end up as NBC’s most festive (and satisfying) comedy in the hour.