“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.
“The Pandorica Opens”
June 19th, 2010
As a newcomer to Doctor Who, one of the challenges I’ve had to face in terms of writing about the series is what to do with its two-part episodes. In particular, there’s a distinct challenge with writing about the first part of those episodes, as Doctor Who tends to quite literally split narratives in half as opposed to telling two connected stories. As a result, the first half tends to be fairly heavy on exposition and setup before the second half brings it all to a resolution: while this means that there is plenty to speculate on about the first episode, it’s tough to offer a critical opinion when so much of the two-parter’s effectiveness depends on how it concludes.
[Note: this seems as good a time as any to link to Scott Tobias and Noel Murray’s fantastic conversation about the challenges of writing about television at The A.V. Club – I’d add “two-parters” to their list of confounding situations for television critics who write about television on a weekly schedule, although they are not particularly common in this day and age.]
I’ve gotten away with it so far this season by either writing about episodes from previous series (catching up with the Weeping Angels and River Song in my review of “The Time of Angels”) or catching up on previous episodes in this series (lumping reviews of “Vampires of Venice” and “Amy’s Choice” in with “The Hungry Earth”), but with “The Pandorica Opens” (the first part of the series finale) I knew that there was no such cheat available, which meant that the episode was either going to lend itself to instant analysis or it wasn’t.
There are times when I write about episodes of television because I feel I have something to say, or because I want to start or continue a conversation, but there are other times when I simply feel as if I need to write about something so as to be able to even come close to being able to wrap my head around it. “The Pandorica Opens” is one such episode, a first-part which wastes no time drawing a clear (and quite ingenious) connection between this story and the ongoing series narrative and in the process leaves me enormously confused in the best possible way.