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This transcript was created on 2026-06-07 at 15:19:36

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Hello, dear Lisa, and welcome back to Flight Through Entirety, the only Doctor Who podcast compelled to take a break for a few weeks by the sheer power of narrative inevitability.

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I'm Nathan.

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I'm Todd.

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I'm Simon.

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I'm Kevin.

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Well, the new girl already stole their Thunder way back in episode one, and so Amy and Rory Williams now have no choice but to leave us for good at the end of episode five.

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It's an unavoidable, ineluctable, fixed point in time.

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It's the Angels Take Manhattan.

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Can I start by making a controversial claim that the people who avoid spoilers completely who don't watch any trailers who try and avoid news about the show are going to have had a really difficult time understanding what the hell is going on in this episode?

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Why do you say that?

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Because the episode is so much about the inevitability of Amy and Rory leaving.

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Yes.

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Oh, fair enough, but it is kind of signposted throughout the episodes of the season.

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Yeah.

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I mean, it's literally an episode where the doctor reads spoilers that he's about to lose his companions and flips out.

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Yeah, yeah.

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There is a sort of sense in which when the show is being made very carefully.

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The sort of parotext, the things like the press releases the announcements, trailers and so on, are an important part of the process of understanding how the show works.

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And we've already seen that this year, I think, with Asylum of the Daleks, where the new girl unexpectedly turns up.

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And if you hadn't had the news that Jenna Coleman was going to be taking over next year, I think you would have been pretty confused as to what was going on there as well.

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No, I don't think so.

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I think that still works beautifully because the way she turns to the camera at the end and says, and remember, it still works if you don't know what's coming.

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Yeah, but it isn't. read the press releases and read all the blurbs.

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I actually watched it with people who hadn't and hadn't heard of her and I was just sort of gibbering for about 2 minutes before I could actually explain what was going on.

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It was a pretty incredible experience watching it that way.

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I think it's a bonus to actually know that she's coming. think it adds to it.

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Oh, yeah, absolutely.

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But you can still work with that.

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Yeah, that's true.

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You'd have to be in a complete cave to not know anything.

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I mean, I know I did.

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I know this is a slight jab.

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In my original attempt to how to watch the new series when it came back.

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But by now, that had long fallen out the window.

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They prove it to be impossible.

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Thank you for that, clarif. 2005, 2005 was very different, a different place to 20 whenever this was 2012.

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And certainly now.

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And right from the very beginning, we get this equivalence being drawn between this episode and a sort of, I guess it's a a sort of noir-ish, hard-boiled detective novel of some kind.

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The genre of noir is itself just kind of window dressing, there's not really an easy name, it needs to be noir, but the book itself is just very Amy, very Moffat, because her whole story is sort of bookended as a fairy tale.

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Of course, the end of her story is going to be all about a book. ending.

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Yeah, yeah.

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And so at some point we actually see the table of contents, and the 1st chapter is called the dying detective, and we actually get that 1st chapter before the opening credits.

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And in fact, the last thing that gets typed on the screen, because we've got Nick Curran back and he's doing really sort of clever visual things.

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And so the voiceover isn't being accompanied by someone typing.

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And the last thing that's typed is the chapter title.

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Yeah, and I actually had a thought about that one because I was watching that thinking to myself, is this the 1st new series companion departure story where the companion doesn't appear in the pre-titles?

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It's not about them, but I sort of noticed at the end, we cut back to those typewriter enter cuts and it's Amy typing it.

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So actually she is hanging over it.

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It's just in a very different way from previous ones.

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Yeah, that's right.

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But I mean, we have rose as a narrator at the beginning of Army of Ghosts saying that we're about to hear the story of how she died and obviously Russell kind of, you know, punts on that or whatever.

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But that's just terrible, though.

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Yeah, it is a bit terrible.

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I mean, I love it.

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I love it.

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It's melodramatic.

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It makes no sense.

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I love it.

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It's over the top.

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It's too self-referential.

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Oh my god, you love me so much and you're going to be so devastated when I'm out of the program and I'm going to trick you for the next hour and a half that, you know, I actually die and that's what all the, you know, media is about that I'm going to be, I'm going to die.

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And you're going to be so sad because you all love me.

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You love me so much.

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Whereas, whereas this is, this has got a word that Russell doesn't understand called subtle.

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Well I don't know that it does.

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I mean it has a book in it. all subtle.

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Come on, it's got the statue of Liberty.

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You know, everybody's got to turn away from the Statue of Liberty at the ones.

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Yes, I love it.

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It's only about 8000000 people that need to look away.

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I think that's sort of the thing that hangs over pretty much all the companion departures to this point, though, and doctor departures too, just kind of the sense that you are going to miss me so much.

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So we are going to go big and emotional and just let you grieve with the characters.

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And that, to me, is kind of the point of a big departure story.

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So I always love when they go all out to just try and make me cry and hit me over the head with emotions because that's what I'm feeling anyway if they've done the job right to make me care about the character.

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Oh, yeah, that's right.

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So you do their job right by making us care about the character.

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Not tell us, you should care about me, or you do care about me.

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That's my issue with me.

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You mean, just telling Yaz, she's the most important person we've ever met?

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Is not enough?

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Not really.

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No way.

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Anyway, that's in the future.

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But I mean, this isn't subtle.

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We have someone narrating. this episode.

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Part of this episode is us watching the episode get written.

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And one of the characters has a book in his pocket, which is the story of the episode.

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So this is self-referential as it's possible to get, I think.

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Oh, from that point of view, yes.

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Yeah, you know, I won't.

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Don't you think it's a bit of a nod to a target novelisation?

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Oh, yeah. think so. absolutely absolutely.

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Please tell me one of the chapters is called Escape today.

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It really is, isn't it?

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That, that particularly the shot of the, um, of the table of contents is absolutely a target novelisation.

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And Moffatt is someone who knows and love the target novelisations and even has the opportunity to write one himself, which is absolutely extraordinary.

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Which one's that?

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The day of the doctor.

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It's a really, really, really good novelisation.

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It's just as smug and self-congratulatory as you would expect.

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You can see him going, oh, this is pros.

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I don't know pros.

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I'm going to 2nd guess every choice and make it like 900 times more complicated than a meat speed.

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Because he's Moffat, it's clever anyway, and he gets away with it, but...

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Absolutely great.

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And we've already talked about Nick Curran, and there is an incredible amount of atmosphere here, as always.

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Oh my god, yeah.

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It's absolutely a beautiful episode.

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I mean, he has a lot of fun with the noir stuff in the front half, which makes it so much more than the window dressing it could have been.

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And then when he has to switch on a dime, just make it the operatic emotional fireworks.

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He does.

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I mean, Karen and Arthur just give such good performances that he's drawing out of them and every shot is just quite beautiful.

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Like the scene of Amy and Rory jumping off that roof is just stuck with me ever since.

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Yeah, yeah, I mean, we'll get to that, but I think that that is an extraordinary scene, a really, really, very good scene.

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He's an incredibly well crafted episode.

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It all it all looks so nice.

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It all feels consistent.

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And it's all, it's not just a few nods to the film noir genre.

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You know, the whole the whole narration of the typing. very Sam Spade. drag net. all that in his 40s era.

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And the fact they go back to the 30s as well.

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It's all consistent.

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I think that that visual style does continue right the way through, even to the virtually the very end.

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So after the credits, we go straight into New York.

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Yeah.

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I mean, it's such a beautiful setting in the park, and, you know, once Doctor Who couldn't go far from BBC television studios, but now we're so big that we are here with this cast.

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What a difference it is from the last time they went to New York where they just, you got a couple plate shots and went, okay, we're done. lets grab a bunch of British actors and tell them to do the anchor.

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Yeah.

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I actually kind of think because Dalek's in Manhattan, which we actually quite liked, I have to say.

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Not me Most of us actually quite liked, I must say.

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That should always have been called the Daleks Take Manhattan.

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And so this is kind of Moffatt saying, actually, you just watch me in charge of this show. do a story set in New York and I'll show you how it's done because it's amazing.

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I mean, there's a very sort of crummy dad core musical choice.

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Yeah.

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So good.

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Very much we have a straight man in charge of the show now.

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So we'll have Sting rather than Britney or Scissor Sisters.

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It's just so 11th doctor to play just the corniest possible musical choice.

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Oh, I'm an idiot.

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I mean, of course, you could just see him dancing like disco or something like that. just be terrible and he'll be having the time of his life.

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But it does work because he's an Englishman.

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I like that too. on about, he's that the posh public schoolboy.

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And so it works that he's the Englishman.

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Yeah, yeah.

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Yeah, I think that's fair.

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That opening scene is really terrific.

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And I like the fact that we don't catch them in the middle of an adventure that we actually just get to have hang time with them.

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Yeah, and these companions have had the longest run in the new series.

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Yeah.

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And I think that this TARDIS team is one of the most iconic teams in the new series.

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I love them enormously.

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And I've always loved hanging out with them.

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And so going out with them and River for the final episode is so great.

153
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And just, there's that follow-up.

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You know, in Power of three.

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We mentioned this last week.

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In power of three.

157
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They get a phone call.

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Amy gets a phone call from the optician saying that her reading glasses are ready.

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And now she's wearing them.

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And we've had all this talk about how they've been ageing out of a relationship with a doctor.

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The childhood friend and adulthood is definitely here.

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And so having the doctor say, oh, you know, I don't like those glasses, they make your eyes look liny.

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And then she takes the glasses off and he's sort of horrified to discover.

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I mean, that's the really beautiful thing about this script.

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Even when you're just doing hang time with the characters.

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Every line is doing so much work in so many different directions.

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The characters for the relationships, for the themes.

168
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It's so tight and so economical.

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I'm just, I was watching this episode and just blown away by how efficient a script it is.

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I forgot just how tight doctor who could be.

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The note that I made about it actually was that it feels like you're watching a 2 parter.

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It feels has that epic feel.

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And as you said, it's economical and yet it can all be done in 45 minutes.

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It's amazing.

175
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Yeah. without feeling rushed.

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That was sort of the big theory they were trying to prove with this series, isn't it?

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They suddenly ditch the serialisation, ditch the 2 partners.

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This is the 1st companion departure to this point in the new series that is a one-parter.

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And I remember going into it at the time thinking, oh, but they're my favourites.

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I'm so sad that they only get one part when everyone else got 2 to say goodbye.

181
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And then it makes every 2nd count.

182
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Yeah, yeah, it's really quite extraordinary, isn't it?

183
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And it's really quite quick that we get into the idea that there's an inevitability here.

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The moment that, like, Rory goes off to get coffee, mainly to avoid having to tell Amy that, yes, she, yeah, that's right.

185
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And the doctor rips out the last page of the book. ending.

186
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Yeah, yeah.

187
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Yeah.

188
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You know, and intercut with Rory and the little cherubs.

189
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Walking through the park.

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You know, it is, as you said, so efficient and every single line.

191
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Like, you know, I hate endings.

192
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It's foreshadowing what's about to happen.

193
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It's just so clever.

194
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So he gets taken back in time by the angels, which is a thing that they weren't doing in their last proper appearance.

195
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They were just kind of snapping people's necks and stuff, weren't they?

196
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And here the angels...

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When the angels 1st appear, they're about the brevity of life and about how quickly death comes.

198
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And that's why they're weeping angels because they're the statues that appear on a tombstone.

199
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That's why the episode's called blink, not just because you can't blink in front of the angels, but because you blink and suddenly you're old.

200
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Suddenly life has.

201
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What happened to my, where did my life?

202
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Yeah, yeah. when Lewis Mahoney is looking at his hands and saying, I suddenly have old man hands.

203
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When did that happen?

204
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Here, I think the angels are a complex thing about inevitability, about the way that this story itself is constrained to end with the departure of Amy and Rory, that no matter what happens, no matter what they do, no matter what they try in order to get out of it.

205
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And, you know, right at the end it looks like they have got out of it, there's no way for this to end without them leaving.

206
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It's got a sort of an all good things come to an end feel to it.

207
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The end of TNG, all good things.

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Yes, it's all transient and life is short and, you know, all good things must come to an end, but there's a melancholy about it that runs through the hole.

209
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But it's not that necessarily an unpleasant melancholy, I feel.

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Even though, of course, they're flung back to 1930, whatever, I can ever see them again.

211
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Even despite that, I still feel throughout the rest of it when you're heading towards the inevitability of their departure.

212
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Your melancholic about it, but you're sort of fine with it too.

213
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I know.

214
00:16:08.220 --> 00:16:23.639
I've spent a lot of time in this season's episode saying that I wanted their story to end with them ageing out of the relationship and saying to the doctor, look, we're not going to come back with you now.

215
00:16:23.700 --> 00:16:24.960
We have this home.

216
00:16:25.019 --> 00:16:27.539
We're older, we have our friends.

217
00:16:27.600 --> 00:16:33.480
I have a job, I have responsibilities, and that's where we're heading, isn't it, in last week's episode in power of three.

218
00:16:33.600 --> 00:16:48.779
And I thought that that would be a good ending partly because I'm not a big fan of space reasons endings and up to this point, I always thought Martha's was the best ending, the fact that she just ends on her own terms.

219
00:16:49.440 --> 00:16:53.519
And this is a very definite space reasons ending.

220
00:16:53.580 --> 00:16:54.240
Yes.

221
00:16:54.240 --> 00:17:18.240
But I'm actually much happier with it than I thought because their departure leaves such a gap in the program that it actually does violence to the show's premise, in the sense that the doctor can go anywhere in time and space, but he's not allowed to go back and see Amy and Rory.

222
00:17:18.299 --> 00:17:20.039
And that's actually true.

223
00:17:20.099 --> 00:17:24.839
We can't now have an episode with Amy and Rory in it because they're not under contract anymore.

224
00:17:26.519 --> 00:17:28.559
It doesn't stop others.

225
00:17:28.619 --> 00:17:35.579
No, no, but, you know, there's that real sense in which, you know, we talked about contract roulette.

226
00:17:35.640 --> 00:17:48.900
Andrew Hodson's contract roulette, that the companion will just leave wherever they happen to be in the last story that the actor is contracted for, which is why Mel goes off with Sablon Glitz at the end of Dragonfire.

227
00:17:48.960 --> 00:17:51.720
Or Dodo goes to the country.

228
00:17:51.779 --> 00:17:53.880
Or Leila suddenly falls in.

229
00:17:53.940 --> 00:17:55.019
Yeah, yeah, exactly.

230
00:17:55.079 --> 00:17:57.599
Dodo's lucky she at least made it to Earth.

231
00:17:59.759 --> 00:18:05.220
But here there is something that the show can't do again.

232
00:18:05.279 --> 00:18:11.700
It can never ever recapture the feeling of hanging out with Amy Rory and River ever again.

233
00:18:11.759 --> 00:18:14.700
There's one place that the show can never go.

234
00:18:14.759 --> 00:18:24.599
And so making that real within the programs world itself, I think, is really good, even though I feel a bit anxious about that limitation.

235
00:18:24.660 --> 00:18:28.980
Can't they just get on a boat and like travel to London or something like that?

236
00:18:29.099 --> 00:18:34.319
Actually, I actually thought that you'd be more angry about the fact that they don't have Wi-Fi and mobile.

237
00:18:34.380 --> 00:18:35.940
Yeah, no, I'm pissed off with that.

238
00:18:36.000 --> 00:18:36.839
That's awful.

239
00:18:36.900 --> 00:18:42.420
That's surprised that you're worried about the fact that they say just because they say something can't possibly happen in Doctor Who.

240
00:18:42.480 --> 00:18:44.640
It doesn't mean that later that just changed their mind to do it anyway.

241
00:18:44.700 --> 00:18:45.180
Yeah.

242
00:18:45.240 --> 00:18:54.779
I think what it comes down to is, uh, it's less just that New York is the timeline is messed up, but the fact that, again, it's about books and about endings in paratext.

243
00:18:54.839 --> 00:19:00.599
The parotext and the text itself is, we've read that Amy and Roy never see the doctor again.

244
00:19:00.660 --> 00:19:02.460
Therefore, they never see the doctor again.

245
00:19:02.519 --> 00:19:06.420
Even if the doctor manages to get back into New York, we know that doesn't happen.

246
00:19:06.480 --> 00:19:09.779
And I think that was partially the request of Karen Gillan, right?

247
00:19:09.839 --> 00:19:14.220
A lot of this episode was crafted from what she wanted, which was like, I want to go out definitively.

248
00:19:14.279 --> 00:19:15.660
I want weeping angels.

249
00:19:15.660 --> 00:19:17.099
Oh, okay.

250
00:19:17.160 --> 00:19:18.000
Those are the big pieces.

251
00:19:18.059 --> 00:19:20.279
At least I remember something about that.

252
00:19:20.339 --> 00:19:29.579
I also think the really definite thing that needs to happen and which does happen is that she needs to make a final choice between Rory and the doctor.

253
00:19:29.640 --> 00:19:31.740
And that's what it's about, yeah.

254
00:19:31.799 --> 00:19:34.140
Yeah, and it's good that that actually does happen in the end.

255
00:19:34.200 --> 00:19:40.019
In fact, the doctor's a bit horrible in that scene because he kind of lies to Amy.

256
00:19:40.079 --> 00:19:48.599
So Amy says, will I go back to where Rory is if the angel touches me and the doctor says no.

257
00:19:48.660 --> 00:20:00.480
And River, who loves her parents and knows how much more important Rory is to Amy than the doctor is, says, no, no, just go, you go.

258
00:20:00.539 --> 00:20:04.319
And I got the impression that the doctor wasn't saying, no, you won't.

259
00:20:04.380 --> 00:20:07.200
It's like, we don't know. you could end up anywhere Yeah, yeah.

260
00:20:07.259 --> 00:20:09.180
And you're ever saying take a chance, yeah.

261
00:20:09.240 --> 00:20:12.660
Yeah, yeah, yeah. he is trying to discourage her from going.

262
00:20:12.720 --> 00:20:14.700
Because there's too big a risk, yeah.

263
00:20:14.759 --> 00:20:15.240
Yeah, yeah.

264
00:20:15.299 --> 00:20:21.720
No, because he wants her and is happy to have her even if she doesn't get to have Rory.

265
00:20:21.779 --> 00:20:25.980
It's consistent with a doctor at the end of the chase, saying that he doesn't want to eat in bar.

266
00:20:26.039 --> 00:20:27.059
Yeah, because it's too big a risk.

267
00:20:27.180 --> 00:20:30.420
Well, because he's selfish and he's a man child, you know.

268
00:20:30.480 --> 00:20:33.299
And that's basically all he gets to do in this episode.

269
00:20:33.359 --> 00:20:35.940
He's kind of impotent the whole episode.

270
00:20:36.000 --> 00:20:40.740
Everyone else's actions drive the pot while he just tries to beg them not to do them.

271
00:20:40.799 --> 00:20:41.759
Yeah.

272
00:20:41.819 --> 00:20:45.660
But it's also consistent with when Amy and Rory jump off the building.

273
00:20:45.720 --> 00:20:46.920
He calls out after Amy.

274
00:20:46.980 --> 00:20:48.539
He says nothing about Rory at all.

275
00:20:48.599 --> 00:20:54.539
Like Rory's always, well, in my head anyway, always like a secondary thought after Amy.

276
00:20:54.599 --> 00:21:09.359
But back to what you're saying, like, with the doctor saying no to River, like, you know, Shishona knows that Amy will go back to Rory, if we go back to the beginning where Rory gets taken, it's very convenient that he suddenly just, it just happens to go to Melody Malone.

277
00:21:09.420 --> 00:21:10.619
Do you know what I mean?

278
00:21:10.680 --> 00:21:13.920
Like, it's very efficient and very convenient, right?

279
00:21:13.980 --> 00:21:16.980
Because we've got a one-part story, not a two-part story.

280
00:21:17.099 --> 00:21:17.700
Exactly.

281
00:21:17.759 --> 00:21:19.140
It's storytelling logic.

282
00:21:19.200 --> 00:21:25.440
It's a story rather than a series of events that happen to imaginary people, and that's Moffatt's approach all the time.

283
00:21:25.500 --> 00:21:31.079
So he couldn't go back to somewhere that didn't have some kind of relevance to him, I think.

284
00:21:31.140 --> 00:21:31.920
Of course.

285
00:21:31.980 --> 00:21:32.400
Yeah.

286
00:21:32.460 --> 00:21:38.519
Yes, the space reasons would be rivers tracking him or something, tracking the time anomalies or whatever.

287
00:21:38.579 --> 00:21:39.839
River knows all the space reasons.

288
00:21:39.960 --> 00:21:42.599
Or the fact that they are father and daughter.

289
00:21:42.660 --> 00:21:45.960
So time is dragging him towards her, do you know what I mean?

290
00:21:46.019 --> 00:21:47.220
Yeah, he's a cause of her.

291
00:21:47.279 --> 00:21:48.720
You know, they're linked.

292
00:21:48.779 --> 00:21:51.359
But I just love the way the doctor reads Hollow River.

293
00:21:51.420 --> 00:21:53.579
And then it's like, there he is.

294
00:22:07.259 --> 00:22:35.940
Speaking of the Rory River dynamic, I think this episode's really, one thing that makes it special for me is it's the one time we really get to see Amy Rory and River as an actual family, knowing where they stand with each other, and you get a lot of little moments with that, just little beats, like, there's the one moment where, uh, the doctor and River have the fight about the wrist breaking, and Amy immediately chooses Riverside and goes after her instead of after the doctor, where in past, she would always stand with the doctor.

295
00:22:36.000 --> 00:22:40.319
Like, there's that sense of growth away from the doctor into her family that I really love.

296
00:22:40.920 --> 00:22:52.319
Even at the very end where she says to a river to be a good girl and to look after the doctor for her, you know, that's her being mum.

297
00:22:52.380 --> 00:22:59.880
But it's also the 1st episode where the doctor and river are unambiguously husband and wife as well.

298
00:22:59.940 --> 00:23:13.319
And so the interesting thing about this episode is you have 2 married couples and you get to see these 2 marriage relationships driving the way that they behave.

299
00:23:13.380 --> 00:23:16.799
And there's even that the line about creating the future together.

300
00:23:17.519 --> 00:23:23.700
Changing the future, that's called marriage, and it's applied to both of them marriages, like to both relationships.

301
00:23:23.759 --> 00:23:25.500
I think it's terribly good.

302
00:23:25.559 --> 00:23:31.680
I mean, people always talk about drama being driven by triangles and um, Kitfoil and all that.

303
00:23:31.740 --> 00:23:36.720
This is such an episode where you can see Moffatt's sitcom experience with that, just coming to full force.

304
00:23:36.779 --> 00:23:43.980
It's not a sitcom episode by any means, but you can see that focus on contrasting relationships, contrasting dynamics building the drama at every turn.

305
00:23:44.039 --> 00:23:45.119
It works really well.

306
00:23:45.180 --> 00:23:46.200
Yeah.

307
00:23:46.259 --> 00:23:59.039
I've said over and over again that Moffat's sitcom experience is an absolute asset to writing Doctor Who, because Doctor Who is melodrama, and it requires characters that are well-defined.

308
00:23:59.099 --> 00:24:00.900
We know how Rory is going to react.

309
00:24:00.960 --> 00:24:02.640
We know how Amy's going to react.

310
00:24:02.700 --> 00:24:04.859
We know how river's going to react.

311
00:24:04.920 --> 00:24:13.680
We know them as people, and they behave in predictable ways, and then the thing is to bounce them off each other and see what you discover.

312
00:24:13.740 --> 00:24:19.740
So absolutely, I think just the strength of these characters, they're so well drawn.

313
00:24:19.799 --> 00:24:29.819
We know them so well that putting them together in these different situations and having them behave in response to various things is absolutely what we want to see.

314
00:24:29.880 --> 00:24:31.200
It's a real strength.

315
00:24:31.259 --> 00:24:32.400
I agree.

316
00:24:38.880 --> 00:24:41.039
Shall we talk about the angels?

317
00:24:41.220 --> 00:24:43.079
Yes, let's.

318
00:24:43.680 --> 00:24:55.500
You were talking earlier about how they're sort of, in blank, they are very much one thing, the inevitability of time and age, and then, and they're two-parter with the doctor and Amy.

319
00:24:55.559 --> 00:24:57.480
It's very a different thing.

320
00:24:57.599 --> 00:25:01.740
They're more the aliens approach where they are the evil monsters who kill you.

321
00:25:01.799 --> 00:25:11.279
And this is, I feel I feel like quite consciously, I know in the asylum of the Daleks podcast, you were talking about how Moffatt always reacts to what he did previously and tweaks in response.

322
00:25:11.339 --> 00:25:19.200
I think he looked back at the Angels 2 parter in the series 5 and went, okay, I've gone a bit far from what they originally started with.

323
00:25:19.259 --> 00:25:22.740
Let's go back and explore the original ideas I didn't really get into.

324
00:25:22.799 --> 00:25:27.480
So like their plot of the battery farm is very much their original concept is taken further.

325
00:25:27.539 --> 00:25:31.440
All the different statues are very much just the end of blank, but taken further.

326
00:25:31.500 --> 00:25:36.000
It's going back to its roots and then just saying, okay, what if we explore that avenue now?

327
00:25:36.900 --> 00:25:39.779
There's that sense of constraint.

328
00:25:39.839 --> 00:25:56.339
You know, like once you, at the beginning of blink, once Sally receives the letter from Kathy saying that she's lived a long life, then that's it, we know that Kathy can't be rescued because we already know how this ends.

329
00:25:56.400 --> 00:26:01.980
So that idea of inevitability of narrative inevitability is already present in blink.

330
00:26:01.980 --> 00:26:06.900
And, you know, it's the same thing with the Lewis Mahoney character.

331
00:26:06.960 --> 00:26:09.119
Pretty Billy Shipton.

332
00:26:09.240 --> 00:26:10.140
Yeah, yeah.

333
00:26:10.140 --> 00:26:15.240
When they end up in the graveyard after trying to land in New York in 1938.

334
00:26:15.480 --> 00:26:21.180
And then Amy reads ahead, like once we know what's coming, it's fixed.

335
00:26:21.240 --> 00:26:22.980
You know, you're going to break something.

336
00:26:23.039 --> 00:26:25.019
Like we know that's going to happen.

337
00:26:25.079 --> 00:26:32.460
And then we also, we, as the audience, see the grave of Rory Arthur Williams, just the headstone.

338
00:26:32.519 --> 00:26:39.180
So again, but to what you're saying, it's an inevitability that it's going to happen and there's no way out of it.

339
00:26:39.180 --> 00:26:44.279
And it adds to the, I don't know, the foreboding or the dread or the inevitability of this episode.

340
00:26:44.339 --> 00:26:47.640
I think that's just a wonderful sequence in that graveyard.

341
00:26:47.700 --> 00:26:50.279
I never thought, why are they in this graveyard, you know, what is it?

342
00:26:50.339 --> 00:26:50.819
You know?

343
00:26:50.880 --> 00:26:54.839
And then, of course, everything Stephen does is for an absolute reason.

344
00:26:54.900 --> 00:26:59.640
Well, he says there's some causal relationship or something that's perhaps bringing them there.

345
00:26:59.640 --> 00:27:03.240
And we see the gravestone the 1st time.

346
00:27:03.240 --> 00:27:10.319
At the end of the scene, the 1st time they're in that graveyard and we see it just with Rory's name on it.

347
00:27:10.380 --> 00:27:12.660
It doesn't have Amelia on it, yeah.

348
00:27:12.720 --> 00:27:13.200
Oh, okay.

349
00:27:13.619 --> 00:27:15.599
He hasn't panned out.

350
00:27:15.660 --> 00:27:16.559
Yeah, yeah.

351
00:27:16.619 --> 00:27:17.460
But it is clever.

352
00:27:17.519 --> 00:27:20.880
So for us, we've read it. know that it has to end this way.

353
00:27:21.000 --> 00:27:29.880
And the other terribly clever thing is they finally take the idea of a angel statue to its inevitable place of you see them all the time in graveyards.

354
00:27:29.940 --> 00:27:35.759
So you see that looming over the graveyard and every shot and you're like, is that an angel or are they just playing with the imagery?

355
00:27:35.819 --> 00:27:40.440
And of course it turns out to be an angel, but it leaves you with just enough doubt.

356
00:27:40.980 --> 00:27:45.900
I also think that the cherubs are incredibly gray.

357
00:27:45.960 --> 00:27:48.240
And they're heaps different.

358
00:27:48.299 --> 00:27:57.119
We do hear the sound of beating wings in Murray's music for the angels in blink, but I don't think we have sort of diagetic beating wings.

359
00:27:57.180 --> 00:27:58.319
And here we do.

360
00:27:58.380 --> 00:28:01.019
So we have little flapping wings and giggling and stuff.

361
00:28:01.019 --> 00:28:05.460
And it's completely different from the angels who have no voice in blink.

362
00:28:05.519 --> 00:28:06.839
We don't hear from them at all.

363
00:28:06.900 --> 00:28:08.279
It's so disturbing.

364
00:28:08.339 --> 00:28:11.940
And I just, I mean, the sequence where that one blows out the match.

365
00:28:12.000 --> 00:28:13.559
Fantastic.

366
00:28:13.619 --> 00:28:14.400
So good.

367
00:28:14.460 --> 00:28:15.720
Very unsettling.

368
00:28:16.920 --> 00:28:18.299
Yeah.

369
00:28:18.359 --> 00:28:20.279
I mean, that's the thing with Moffat.

370
00:28:20.339 --> 00:28:22.619
He never lets himself get bored with a monster.

371
00:28:22.680 --> 00:28:25.019
He has to keep trying a new trick out with them.

372
00:28:25.079 --> 00:28:42.119
And so that this episode is just, I mean, he doesn't necessarily extend out the new trick beyond where to be welcome, but the cherubs are a great single scene menace where you get that scene in the cellar, you just get to go get in, pay off the idea of just how creepy they are, get right out.

373
00:28:42.180 --> 00:28:43.680
Rory's been zapped away.

374
00:28:43.740 --> 00:28:44.279
It's great.

375
00:28:44.339 --> 00:28:53.579
I think too, that you 2 were dissing the idea that the Statue of Liberty could be an angel.

376
00:28:53.640 --> 00:28:56.880
But I have to say, how could you not do that?

377
00:28:57.000 --> 00:29:01.259
You said it in New York, there's a giant, giant statue there.

378
00:29:01.380 --> 00:29:02.579
I wasn't dissing it.

379
00:29:02.640 --> 00:29:03.900
I actually think it's fantastic.

380
00:29:03.960 --> 00:29:08.940
It's one of those things where it doesn't have to make sense because it's too much fun not to do it.

381
00:29:09.059 --> 00:29:09.779
Yeah.

382
00:29:09.779 --> 00:29:14.039
No, no, that's where, unfortunately, the breaks the formats for me.

383
00:29:14.099 --> 00:29:18.779
I think you can make the Statue of Liberty and Angel, but I don't think you can make the Statue of Liberty and Angel the way they did it.

384
00:29:18.839 --> 00:29:20.160
Oh, so good.

385
00:29:20.220 --> 00:29:22.319
That step too far for me, I'm afraid.

386
00:29:22.380 --> 00:29:22.980
It's a shame.

387
00:29:23.099 --> 00:29:25.440
How good is Arthur Darfel's delivery of?

388
00:29:25.500 --> 00:29:27.539
I always wanted to see the Statue of Liberty.

389
00:29:27.599 --> 00:29:28.619
I guess she got impatient.

390
00:29:29.579 --> 00:29:38.759
When Ghana is doing the voiceover at the very beginning, we get a shot of the Statue of Liberty in situ as he's describing the statues.

391
00:29:38.819 --> 00:29:42.420
And so it's not supposed to be a surprise.

392
00:29:42.480 --> 00:29:45.660
It's supposed to be inevitable as well.

393
00:29:45.720 --> 00:29:53.339
And Moffatt knows full well that it's impossible for the Statue of Liberty to get there unobserved.

394
00:29:53.400 --> 00:29:58.619
He actually describes New York or refers to New York. as the city that never sleeps.

395
00:29:58.680 --> 00:30:01.200
Like it's in the dialogue.

396
00:30:01.259 --> 00:30:02.460
So he doesn't care.

397
00:30:02.519 --> 00:30:14.160
He just and he's aware that it's just too incredible a visual to allow something like narrative plausibility to ruin it.

398
00:30:14.220 --> 00:30:16.619
I mean, he did have an explanation though, didn't he?

399
00:30:16.680 --> 00:30:20.700
It was something about the angels had such complete control over the city at that point.

400
00:30:20.759 --> 00:30:22.140
They could just direct people to look away.

401
00:30:22.559 --> 00:30:24.359
I mean, sure.

402
00:30:24.359 --> 00:30:28.440
It would be so boring if they actually said that in the episode.

403
00:30:28.500 --> 00:30:29.099
Who cares?

404
00:30:29.160 --> 00:30:31.200
Oh, right, I see what you made, right?

405
00:30:31.259 --> 00:30:31.859
Yes, yes.

406
00:30:31.920 --> 00:30:34.019
It would be boring if they did that on the inside. absolutely right.

407
00:30:34.079 --> 00:30:36.240
Sorry, I agree with Nathan.

408
00:30:36.299 --> 00:30:40.619
I just love the fact that he does say it's a city that never sleeps and, well, here it is.

409
00:30:40.680 --> 00:30:48.059
So if you can't deal with that in your brain, like all the time, travel logic of me, well, bad luck. just have to live with it.

410
00:30:48.180 --> 00:30:53.279
It's probably more relevant to the story than the Chrysler building being in completely the wrong place most of the time.

411
00:30:54.480 --> 00:31:00.539
It's like it's like they're down at the bottom end of Manhattan and the Chrysler Building seems to only be about 6 or 7 blocks away.

412
00:31:00.599 --> 00:31:05.400
Yeah, but it's like every hotel room in France has the Eiffel Tower.

413
00:31:05.460 --> 00:31:06.240
Yeah, yeah.

414
00:31:06.299 --> 00:31:08.940
Maybe the Chrysler Building's just also an angel.

415
00:31:09.000 --> 00:31:12.059
Yeah, just moves about the city, depending on the time of night.

416
00:31:12.539 --> 00:31:21.839
And of course, we've got Grail's Angel, which is all up in locked up in chains, screaming. screaming that the others can hear.

417
00:31:21.900 --> 00:31:25.019
Like, I just find that really creepy.

418
00:31:25.079 --> 00:31:27.299
Yeah, it's super terrifying, isn't it?

419
00:31:27.359 --> 00:31:29.880
He's quite good, I think.

420
00:31:29.940 --> 00:31:34.019
I don't think he's as scary in the show as he is on paper.

421
00:31:34.079 --> 00:31:38.039
I think he's probably meant to be scarier than he ends up being.

422
00:31:38.099 --> 00:31:39.900
The bloke with the house.

423
00:31:39.960 --> 00:31:41.220
Yeah, yeah, yeah.

424
00:31:41.279 --> 00:31:45.480
Yeah, I think he's actually probably the weakest, weakest point of the whole episode, actually.

425
00:31:45.539 --> 00:31:48.960
I don't find the performance, particularly compelling.

426
00:31:49.019 --> 00:31:50.579
Yeah, maybe that's the problem.

427
00:31:50.640 --> 00:31:54.660
And possibly because he's just so much less good than everybody else.

428
00:31:54.720 --> 00:31:55.440
Yeah.

429
00:31:55.500 --> 00:31:57.720
And he's unconscious for all the best bits as well.

430
00:31:57.779 --> 00:32:00.059
It's kind of like, oh, he's fainted, he'll be fine.

431
00:32:00.119 --> 00:32:02.880
And we don't need to have him in this scene.

432
00:32:02.940 --> 00:32:04.559
And where do all of his guards go?

433
00:32:04.619 --> 00:32:09.480
And, you know, they do just leave the door open so all the angels can get in and deal with them, I guess.

434
00:32:09.599 --> 00:32:16.500
I mean, he's just a plot contrivance and a genre fixture to get the characters from A to B and get the stylings in place.

435
00:32:16.559 --> 00:32:18.660
And I think that works for it.

436
00:32:18.720 --> 00:32:19.619
You're absolutely right.

437
00:32:19.680 --> 00:32:21.000
He's not the best performance in it.

438
00:32:21.059 --> 00:32:23.099
He's not very memorable.

439
00:32:23.160 --> 00:32:25.619
But I like how the characters respond to him.

440
00:32:25.680 --> 00:32:30.839
Rivers, tete a tete with him or whatever you want to call it, where she faces off with him is great.

441
00:32:30.900 --> 00:32:32.039
Yes, absolutely.

442
00:32:32.099 --> 00:32:38.519
It's great seeing her pre-husbands of her her song in her middle of one of her adventures.

443
00:32:38.579 --> 00:32:39.839
Yeah.

444
00:32:40.500 --> 00:33:01.380
You know, we've in the past talked about how indebted morphities to Douglas Adams, and there is that wonderful moment where he nips back in time to China, to get Yowza written on the vase. fake.

445
00:33:01.559 --> 00:33:22.079
And it is exactly the same thing that happens in Dirk Gently's holistic detective agency where Chronotis nips off in the middle of a high table dinner to go back in time to get someone to bake a salt cellar from the table into a pot that he has with him.

446
00:33:22.140 --> 00:33:26.759
So in order to do a magic trick where he makes...

447
00:33:26.759 --> 00:33:40.019
And it's exactly the same thing. going back in time to find the guy who created the bit of porcelain or whatever, uh, in order to send a message in order to make it possible for him to land.

448
00:33:40.079 --> 00:33:49.680
But isn't that such a wonderfully clever use of the format in a way that, you know, as we're recording, this legend of the sea devils is but a week old.

449
00:33:49.740 --> 00:33:56.579
And it does it really terribly when the doctor and Yaz go back to, is it Yaz?

450
00:33:56.640 --> 00:33:59.579
Yes, go back to the ship and see the past.

451
00:33:59.640 --> 00:34:02.519
To see the past briefly just for a bit of exposition.

452
00:34:02.579 --> 00:34:04.680
In the defensive legend of the sea devils.

453
00:34:04.740 --> 00:34:09.000
Careful with it, in terms of limitations with Moffatt's era.

454
00:34:09.059 --> 00:34:10.739
That's all we see of China.

455
00:34:10.800 --> 00:34:11.280
That's it.

456
00:34:11.340 --> 00:34:15.360
We get a quick one scene gag and then we're back to the white people.

457
00:34:15.420 --> 00:34:18.059
That's one thing I have to give to Chipnell.

458
00:34:18.119 --> 00:34:20.639
He does better than that. that's true.

459
00:34:20.699 --> 00:34:23.519
But in terms of using it in an interesting, in an interesting way.

460
00:34:23.579 --> 00:34:25.079
It's so much interesting fun.

461
00:34:25.139 --> 00:34:26.579
No contest.

462
00:34:26.639 --> 00:34:27.239
Yes.

463
00:34:27.239 --> 00:34:42.900
And if I can just extend on that, generally speaking, the timey whiminess of this episode, and I know that the timey whiminess was always a criticism back in the day of the Moffat era, people were whinging about the fact that, oh, it's so confusing, no, no one's going to understand it.

464
00:34:42.960 --> 00:34:44.400
There's all these going back and forth in time.

465
00:34:44.460 --> 00:34:53.519
I remember that, I don't know how real that was, or whether it was just a couple of people having a whinge, but I found it so well done in this episode, at least.

466
00:34:53.579 --> 00:34:54.599
Everything fits together.

467
00:34:54.659 --> 00:34:58.980
It all means what it needs to mean, and there are no sort of bizarre internal contradictions.

468
00:34:59.039 --> 00:35:00.239
It doesn't create any at least.

469
00:35:00.300 --> 00:35:01.800
Simon I am not a couple of people.

470
00:35:02.519 --> 00:35:04.559
I'm referring to you.

471
00:35:05.579 --> 00:35:08.400
I mean, I meant, you know, the great unwashed.

472
00:35:08.400 --> 00:35:10.380
I also watch.

473
00:35:10.500 --> 00:35:12.119
Indeed.

474
00:35:12.119 --> 00:35:13.619
So I can't have possibly been referring to you.

475
00:35:13.739 --> 00:35:18.480
Oh no, look, I have various episodes where it does do my head in, but in this particular one.

476
00:35:18.539 --> 00:35:22.559
It's just absolutely perfect in all of the jumps around.

477
00:35:22.619 --> 00:35:28.800
I mean, I do wonder like, you know, again, when Rory does get sent to the key.

478
00:35:28.860 --> 00:35:30.239
Like he's actually not in the building.

479
00:35:30.300 --> 00:35:31.079
He's outside.

480
00:35:31.079 --> 00:35:34.440
And so I kind of go, oh, so he's drawn into it.

481
00:35:34.500 --> 00:35:35.639
Do you know what I mean?

482
00:35:35.699 --> 00:35:38.639
Like I kind of go, why aren't you just right at the steps?

483
00:35:38.699 --> 00:35:39.840
Yeah.

484
00:35:39.900 --> 00:35:40.679
You know?

485
00:35:40.739 --> 00:35:42.960
I mean, that's a minor thing.

486
00:35:43.019 --> 00:35:54.539
That's definitely a visual storytelling moment where it's just, it's more compelling in a sort of nightmare dream sequence image where you see the scary building and you go inside and you go see what's inside.

487
00:35:54.599 --> 00:35:58.260
Like, I don't know why there's a little girl in the window covering her eyes.

488
00:35:58.320 --> 00:35:59.039
Who is that?

489
00:35:59.099 --> 00:35:59.820
What is she doing?

490
00:35:59.880 --> 00:36:00.420
I don't know.

491
00:36:00.480 --> 00:36:02.280
But it's great visual.

492
00:36:02.340 --> 00:36:05.639
That is an incredible location, isn't it?

493
00:36:05.699 --> 00:36:07.019
So we get it at the beginning.

494
00:36:07.079 --> 00:36:19.559
And so we know what's in store for Rory before we find it out because we've had Ghana go in there and there's that wonderful moment, isn't there, where he picks up his wallet?

495
00:36:19.619 --> 00:36:22.199
Like, where...

496
00:36:22.320 --> 00:36:22.860
Yeah, yeah.

497
00:36:22.920 --> 00:36:26.940
So his hat, the hat and jacket that he's wearing are hung up.

498
00:36:27.000 --> 00:36:38.519
Like he's actually wearing them, but they're hung up in the hallway of that apartment and then he goes into the pocket and gets his wallet out, which is exactly the same as the wallet that he's currently carrying, only much older.

499
00:36:38.639 --> 00:36:44.219
So we don't need to get that actor in sort of crappy ageing makeup.

500
00:36:44.280 --> 00:36:47.099
We know that that's him in there.

501
00:36:47.159 --> 00:37:00.000
And so when we see Rory going in there, in a scene that looks the same as the scene at the beginning before the credits, we know that that's what's in store for him as well. crappy ageing makeup?

502
00:37:00.059 --> 00:37:00.360
Yeah.

503
00:37:00.420 --> 00:37:02.400
Yeah, they're not feeling the bed, isn't it?

504
00:37:02.460 --> 00:37:02.880
It is.

505
00:37:02.940 --> 00:37:04.619
It's not Ghana in the bed.

506
00:37:04.679 --> 00:37:06.480
There's a different actor playing old Ghana.

507
00:37:06.539 --> 00:37:07.619
Yeah, yeah, we know that.

508
00:37:07.679 --> 00:37:09.420
Yeah, it is definitely Raring.

509
00:37:09.480 --> 00:37:10.380
Yeah, yeah.

510
00:37:10.440 --> 00:37:11.099
Yeah.

511
00:37:11.159 --> 00:37:14.699
But it is such a horrifying thought.

512
00:37:14.760 --> 00:37:20.340
It's different to, you know, travelling time and meeting an older or younger version than yourself.

513
00:37:20.400 --> 00:37:27.539
It is quite a horrific thought to go to a point in time where you're watching yourself die from old age.

514
00:37:27.599 --> 00:37:31.079
It's quite sombre and unsettling for me.

515
00:37:31.139 --> 00:37:34.860
And not only that, knowing it's a life of torment living up to that trapped in one room.

516
00:37:34.920 --> 00:37:37.860
That is just, and there's nothing you can do to escape.

517
00:37:37.920 --> 00:37:39.719
That is just deeply disturbing.

518
00:37:39.780 --> 00:37:44.099
And that smile on the angel at that point too is just horrific.

519
00:37:44.159 --> 00:38:02.039
I think what's really good and what's really terrifying is that we discover that he's been in that room because is it the doctor who says because he was happy to see you or surprise to see you and that's how we know he hasn't seen Amy for 40 years or whatever.

520
00:38:02.099 --> 00:38:03.360
Yeah.

521
00:38:03.480 --> 00:38:05.280
It's really bleak.

522
00:38:05.340 --> 00:38:06.239
It's horrible.

523
00:38:06.599 --> 00:38:19.380
But that's the extension of what going back to what was being said earlier. extending to the ages, because in blink, some of these people are flung back in time and then seem to live very rich and fulfilled life.

524
00:38:19.440 --> 00:38:19.860
Yeah.

525
00:38:19.860 --> 00:38:22.500
And have families and have relationships.

526
00:38:22.559 --> 00:38:25.500
Yeah, Kathy and Billy. have a wonderful relationship.

527
00:38:25.559 --> 00:38:27.000
She makes the best of it.

528
00:38:27.059 --> 00:38:33.119
Whereas here, your life is effectively over and you, but you just got to serve out the time.

529
00:38:33.179 --> 00:38:36.239
Because it's a battery phone. that's awful Yes, that's awful.

530
00:38:36.300 --> 00:38:43.679
And can I just say how much more effective is that than the episode more recently that totally contradicts this, which is the angels touching you twice, just killing you.

531
00:38:43.739 --> 00:38:47.099
I mean, that works as a cheap way out.

532
00:38:47.159 --> 00:38:54.179
But how much more existentially terrifying is it to see this where they control every moment of your life from birth to death?

533
00:38:54.239 --> 00:38:55.019
don't need to kill you.

534
00:38:55.079 --> 00:38:57.239
They've got you where they want you and can just keep you there.

535
00:38:57.300 --> 00:39:00.300
That's just, that disturbs me a lot more than turning into boulders.

536
00:39:00.360 --> 00:39:03.900
Yeah, yeah, that is super terrifying, I think.

537
00:39:03.960 --> 00:39:11.159
And there is a real horrible bleakness to the story, which I think is magnificent.

538
00:39:11.219 --> 00:39:21.599
You know, we we talk about all the foreshadowing and all the sort of impending fear that we have just watching this and knowing that it has to end with their final departure.

539
00:39:21.659 --> 00:39:37.139
But the whole setup of just a building, a horrible building that's under control of the angels, where you just get repeatedly sent back in time so that the angels can feed off you until you die.

540
00:39:37.199 --> 00:39:40.320
And there's just such a delicate touch to the details of it.

541
00:39:40.380 --> 00:39:42.179
Like, how good a name is Winter Key?

542
00:39:42.239 --> 00:39:45.179
That has stuck with me since I 1st saw the episode.

543
00:39:45.239 --> 00:39:52.619
It's like Russell and Moffatt have a way of just throwing words together where it's just immediate poetry that just launches itself in your head.

544
00:39:52.679 --> 00:39:53.400
I love that.

545
00:39:53.460 --> 00:39:55.079
It really good, isn't it?

546
00:39:55.199 --> 00:39:56.579
It's really good.

547
00:39:56.639 --> 00:39:58.019
Just the winter idea.

548
00:39:58.260 --> 00:40:00.420
It's so brilliant.

549
00:40:00.480 --> 00:40:00.960
Yeah.

550
00:40:01.019 --> 00:40:03.000
Yeah, things coming to an end.

551
00:40:03.059 --> 00:40:03.659
Yeah.

552
00:40:03.719 --> 00:40:04.079
Exactly.

553
00:40:14.820 --> 00:40:32.280
And so that scene at the top of the building where Rory decides to kill himself rather than go through that 40 years and he's been told that there are space reasons why that will put an end to the...

554
00:40:32.460 --> 00:40:33.659
No, he's worked out the space reasons.

555
00:40:33.719 --> 00:40:34.800
Yeah, yeah, okay.

556
00:40:34.860 --> 00:40:35.460
Yeah.

557
00:40:35.460 --> 00:40:40.619
But if he he has to, this will prevent that future from happening.

558
00:40:40.679 --> 00:40:55.019
And just the fact that he can't really do it, and she can't push him, and the solution has to be that they get up there together and hold hands and go down together.

559
00:40:55.079 --> 00:40:56.699
It's so good.

560
00:40:56.699 --> 00:40:59.519
And I was absolutely bawling my eyes out.

561
00:40:59.579 --> 00:41:01.920
Even though I've seen this so many times.

562
00:41:01.980 --> 00:41:03.480
It's so affecting.

563
00:41:03.539 --> 00:41:16.019
I was basically coding the lines back of the actors and I was still crying. the performances of Arthur and Karen have never been better I just think they are absolutely stunning, yeah. in that moment.

564
00:41:16.079 --> 00:41:21.539
Well, actually throughout this entire episode, the 4 of them are just absolutely brilliant.

565
00:41:21.599 --> 00:41:31.380
And in particular, I think Alex Kingston gets, we overlook Alex a lot, but she is just sublime in every delivery.

566
00:41:31.440 --> 00:41:41.940
I mean, the whole relationship with the doctor, like, I just love the way Matt Smith, or the 11th doctor, just before he sees River, like he looks, checks the hair, the breath, the bowtie, and all that.

567
00:41:42.000 --> 00:41:42.840
You know?

568
00:41:42.900 --> 00:41:46.500
We think he's checking for radiation and oxygen content.

569
00:41:46.500 --> 00:41:50.639
And it's not, do I look acceptable because my wife's going to be here?

570
00:41:51.239 --> 00:41:54.119
And then and just the conversations they have.

571
00:41:54.179 --> 00:42:02.699
Like together are just, oh, there's just a dynamic a spark there that just, you know, it's coming to an end.

572
00:42:02.760 --> 00:42:06.539
It's amazing that that worked out as well as it did, isn't it?

573
00:42:06.599 --> 00:42:11.039
Because Alex Kingston is obviously cast for a David Tennant story.

574
00:42:11.099 --> 00:42:20.400
And then, you know, she's in the 1st story that Matt ever shoots and they absolutely click immediately.

575
00:42:20.699 --> 00:42:22.559
It's surprising.

576
00:42:22.619 --> 00:42:25.619
It's almost like Elizabeth Slade and Tom B. Yeah, yeah.

577
00:42:25.619 --> 00:42:27.659
You have to keep remembering, oh, that's right.

578
00:42:27.719 --> 00:42:29.639
No, she was actually cast to be with John Pertwee.

579
00:42:29.699 --> 00:42:32.400
And yet the relationship is just extraordinary.

580
00:42:32.460 --> 00:42:38.099
Yeah, I mean, that story is basically the story of the 11th doctor, whatever big finish might do.

581
00:42:38.159 --> 00:42:42.599
And the 2 of them just work magnificently well together.

582
00:42:42.659 --> 00:42:53.460
And particularly the fact that she is, you know, overtly sexy and confident and he is kind of inept and fumbling and not good at any of that sort of stuff at all.

583
00:42:53.519 --> 00:42:56.699
It works so terrifically well.

584
00:42:56.940 --> 00:43:03.599
It's definitely a, I think, I mean, I look back at this as the sort of the golden age of the modern show.

585
00:43:03.659 --> 00:43:05.820
Yeah, maybe I do too.

586
00:43:06.239 --> 00:43:08.219
Only no, I do.

587
00:43:08.280 --> 00:43:09.960
And I think, especially in terms of popularity.

588
00:43:10.019 --> 00:43:12.480
This was the peak, especially internationally.

589
00:43:12.539 --> 00:43:15.420
This is when people in the US started really getting into this show.

590
00:43:15.480 --> 00:43:17.579
This storyline, this doctor, this team.

591
00:43:17.639 --> 00:43:20.280
That was Doctor Who at its biggest.

592
00:43:20.340 --> 00:43:29.940
And I think, especially because the 50th was coming up, and especially because the next run that becomes a bit more difficult.

593
00:43:30.059 --> 00:43:36.000
This is really sort of an apex moment and it's saying goodbye to so much of what's been making the show work.

594
00:43:36.300 --> 00:43:40.320
I mean, that's part of why I cry on top of just how good it is.

595
00:43:40.440 --> 00:43:43.019
Just watching that come to an end is a lot.

596
00:43:43.079 --> 00:43:44.159
Yeah.

597
00:43:44.219 --> 00:43:44.760
Yeah.

598
00:43:45.179 --> 00:43:48.420
I might say something controversial here.

599
00:43:48.480 --> 00:43:50.639
This is the peak for Matt Smith for me.

600
00:43:50.699 --> 00:43:52.380
I've been watching the 2nd half of the season.

601
00:43:52.440 --> 00:43:57.300
I don't want to say he's going through the motions, but I do find in the 2nd half of the season.

602
00:43:57.360 --> 00:44:03.599
He's spinning on his heels a lot more and having to do a lot more heavy lifting because he doesn't have this team around him.

603
00:44:03.659 --> 00:44:05.159
Like there's something to do with the character.

604
00:44:05.219 --> 00:44:06.599
This is what I'm discovering.

605
00:44:06.659 --> 00:44:10.380
I just really think that this is the peak for me for him after this.

606
00:44:10.440 --> 00:44:15.840
I think this is controversial going into going ahead, but I don't quite like him as much.

607
00:44:16.139 --> 00:44:18.000
Maybe it's the characters.

608
00:44:18.059 --> 00:44:24.059
Yeah, see, I mean, I originally thought the peak as the end of the last season, but now having to watch these last five.

609
00:44:25.079 --> 00:44:36.059
I mean, obviously, you know, the Doctor, the Widow, and the Wardrobe is a terrible Nadir of the show. are actually much better than and hold together much better than I thought.

610
00:44:36.119 --> 00:44:39.239
But my memory was from here and I haven't yet watched the rest of the season.

611
00:44:39.300 --> 00:44:44.460
My memory was from here, his performance starts to become almost like a parody of itself.

612
00:44:44.519 --> 00:44:44.940
Yeah.

613
00:44:44.940 --> 00:44:51.000
And all the things that made it great are still there, but they're, you're kind of right, they're not quite there in the same way.

614
00:44:51.059 --> 00:44:53.400
And I think it's because he's not bouncing off the same people.

615
00:44:53.460 --> 00:44:57.840
Great as Jenna is, and she's superb, we've already said that, but it's not just that.

616
00:44:57.900 --> 00:45:00.719
It's also the way the episodes, I think, are.

617
00:45:01.139 --> 00:45:02.519
Yeah Don't get me wrong.

618
00:45:02.579 --> 00:45:03.900
I think he's absolutely brilliant.

619
00:45:03.960 --> 00:45:08.039
But I mean, we got tired of tenant in that last little bit of the run, right?

620
00:45:08.099 --> 00:45:09.300
When we're watching it.

621
00:45:09.360 --> 00:45:11.039
Well, no, no, no.

622
00:45:11.099 --> 00:45:13.920
We had criticisms, but in particular it was heightened towards the end.

623
00:45:13.980 --> 00:45:19.019
You know, you look at you look perhaps at John Perchby in the classic, you can see that he's tired towards you.

624
00:45:19.079 --> 00:45:21.239
And so phoning it in a bit.

625
00:45:21.300 --> 00:45:25.440
But here it's just everything is working on, you compare everything to this, right?

626
00:45:25.500 --> 00:45:26.579
That's what I'm trying to say.

627
00:45:26.639 --> 00:45:32.760
And his dynamic with Alex Kingston is, as I, well, I'm just back to it again.

628
00:45:32.820 --> 00:45:34.139
It just works so well.

629
00:45:34.139 --> 00:45:35.820
And she will be missed.

630
00:45:35.820 --> 00:45:40.320
And it's great that she is, you know, in one more episode, but it's like such a closure.

631
00:45:40.380 --> 00:45:41.940
Everything is getting close.

632
00:45:42.000 --> 00:45:46.019
So you're mourning for that, yeah, as well as Amy and Rory.

633
00:45:46.079 --> 00:45:47.639
I can only agree.

634
00:45:47.699 --> 00:45:49.739
Matt is my all-time favourite doctor.

635
00:45:49.800 --> 00:45:51.780
I think he's one of the best people to ever be in the role.

636
00:45:51.840 --> 00:45:56.460
And I think in the next half of the series, he just sort of loses the map.

637
00:45:56.519 --> 00:46:01.320
I think you can tell the actor, Matt Smith, the man is lonely.

638
00:46:01.380 --> 00:46:03.179
He misses his friends and he feels lost.

639
00:46:03.300 --> 00:46:06.119
And I don't think he ever quite builds that rapport with Jenna.

640
00:46:06.239 --> 00:46:23.099
I think either he needed to leave around the same time as the pawns or he needed to stay another series to get his bearings again because leaving after this awkward half series just sort of leaves him going from the show at a point when it feels like the show's already moved on past him and it's an awkward feeling.

641
00:46:23.159 --> 00:46:39.539
I think the season 11 analogy is the right one where you have all of these people who Pertwee has been bouncing off, you know, Katie and Roger have gone and he's a bit at sea and he doesn't quite know what to do.

642
00:46:39.599 --> 00:46:51.840
And I think I noticed as soon as Rings of Ackerton that his big giant speech seems to have been written as a speech for Matt to do Matt things in.

643
00:46:51.900 --> 00:47:00.420
And it's much better, I think, to give Matt just things to do and then see what interesting things he does with them.

644
00:47:00.480 --> 00:47:01.500
Great.

645
00:47:01.559 --> 00:47:05.820
And yes, the writing, the writing starts to be trying to write for the quirks.

646
00:47:05.880 --> 00:47:09.659
Yeah. and the quirks just coming out of his performance.

647
00:47:09.719 --> 00:47:10.739
Yeah, yeah.

648
00:47:10.800 --> 00:47:11.519
Yeah.

649
00:47:11.579 --> 00:47:13.559
We do digress.

650
00:47:13.619 --> 00:47:24.659
One thing I wanted to say, and we've been talking about this earlier. is all about the fact that Stephen came up with this plotline where the doctor was sort of deleting himself from history.

651
00:47:24.719 --> 00:47:30.900
And again, it's touched on here when he's talking to River and she says, turns out the person I killed never exists.

652
00:47:30.960 --> 00:47:31.920
Never exist.

653
00:47:31.980 --> 00:47:34.500
And I just noticed that like this time too.

654
00:47:34.559 --> 00:47:39.179
I went, okay, so he's still been deleted from history, but when are we going to drop that?

655
00:47:39.239 --> 00:47:40.739
Still, it's still...

656
00:47:40.739 --> 00:47:41.880
Pretty much from here on.

657
00:47:41.940 --> 00:47:42.539
Yeah.

658
00:47:42.599 --> 00:47:46.500
I actually think there are a few things in the 2nd half that pick up on that.

659
00:47:46.559 --> 00:47:55.440
I mean, that would be going into a different episode, but I mean, one of the musical cues from name of the doctor is called I am Information to throw that out there.

660
00:47:55.500 --> 00:48:00.840
I love that exchange because then River then turns around and says, didn't you used to be someone?

661
00:48:02.760 --> 00:48:04.320
That's great.

662
00:48:04.380 --> 00:48:08.340
Oh, there's so many good lines in it and the delivery of the most.

663
00:48:08.400 --> 00:48:10.139
Yeah. beautiful thrown away.

664
00:48:10.199 --> 00:48:16.139
As I said before about when we're doing the Angels 2 parter is the beauty of so many of those great lines, you see, they're just thrown away.

665
00:48:16.199 --> 00:48:22.320
Yeah, yeah. full subtle light and they're not, they're not chewed on. which is what a previous doctor might have done.

666
00:48:22.380 --> 00:48:23.760
That's true.

667
00:48:23.820 --> 00:48:26.280
And Matt's performance going back to it.

668
00:48:26.340 --> 00:48:30.000
When he sees Amelia's last farewell and how angry he gets.

669
00:48:30.059 --> 00:48:34.079
It's, I think, just perfectly pitched and delivered.

670
00:48:34.139 --> 00:48:37.440
It's not for David Tennant over the top scenario.

671
00:48:37.500 --> 00:48:39.840
It affects you so much seeing him so affected.

672
00:48:39.900 --> 00:48:46.440
Speaking of over the top and perfectly delivered, I think the music on this episode is absolutely phenomenal.

673
00:48:46.500 --> 00:48:49.380
Like, that's something I really miss about Murray Gold.

674
00:48:49.380 --> 00:48:58.380
When it came to a big dramatic episode like this, he would suddenly throw in a number of new motifs and new themes you hadn't heard before and really hit them home.

675
00:48:58.380 --> 00:49:02.099
Like, that piece about, um, Amy and Rory on the roof.

676
00:49:02.159 --> 00:49:07.980
It's been teased throughout series 7, but it comes to the full 4 here and it's just an astonishing piece.

677
00:49:08.039 --> 00:49:11.519
Yeah, yeah, I was listening to that last night, actually.

678
00:49:11.579 --> 00:49:29.519
I think, you know, there have been times when Murray has phoned it in a bit, but when he's inspired and when he's pushed, I mean, there's so much history, like among all of these characters, and they all have their own motifs, the doctor, Amy, and River have their own musical themes.

679
00:49:29.579 --> 00:49:37.559
And so there's things that he can do with those which aren't sort of really available at other times in the show's history, I think.

680
00:49:37.619 --> 00:49:41.159
Yeah, I mean, I've said in the past that I'm not a huge fan of Murray Gold.

681
00:49:41.219 --> 00:49:44.159
I will absolutely acknowledge that he's capable of some excellent work.

682
00:49:44.219 --> 00:49:48.960
I think his problem is not necessarily his fault in that he's doing absolutely every episode.

683
00:49:48.960 --> 00:49:53.760
And therefore, there are things that are less good about it and there's no variety.

684
00:49:53.820 --> 00:49:59.340
I think this is one of his best scores and I think the snowman, which we'll do next, is even better.

685
00:49:59.400 --> 00:50:01.079
I think it's one of the most beautiful scores he's done.

686
00:50:01.139 --> 00:50:03.360
I wonder how much it's got to do with a director.

687
00:50:03.420 --> 00:50:06.179
We've said that this director is a particularly good director.

688
00:50:06.239 --> 00:50:10.800
I think maybe he's just one of those people who needs to be pushed or directed or whatever the word.

689
00:50:10.860 --> 00:50:22.500
I don't know how that relationship works in the modern duration of the show. and how much of the musical choices are Moffatt's direction, the showrunner's direction versus the director's direction.

690
00:50:22.559 --> 00:50:23.699
But yeah, definitely.

691
00:50:23.760 --> 00:50:26.699
I think from this, I suspect it's the director.

692
00:50:26.820 --> 00:50:29.159
Yeah, I suspect it's not Moffatt.

693
00:50:29.219 --> 00:50:37.559
I think that one of the reasons that Moffat goes with Murray is just that this isn't an element of the production that he has a strong opinion about.

694
00:50:37.559 --> 00:50:40.800
And so... changing other things, and this is something.

695
00:50:40.860 --> 00:50:42.239
Yeah, that's right.

696
00:50:42.300 --> 00:50:50.400
And, you know, we get a whole new group of themes when he comes in and we get that incredible music for the 11th doctor.

697
00:50:50.460 --> 00:50:59.579
So it does renew itself a beard and it leaves some old themes behind, but I just think that that's not Moffatt's forte, I think.

698
00:51:14.639 --> 00:51:17.639
Well, speaking of dead, so Amy and Rory sit up in the graveyard.

699
00:51:18.000 --> 00:51:21.539
It's quite a comic sort of like, just to sit up.

700
00:51:21.599 --> 00:51:24.179
I like the fact that there's near their grave.

701
00:51:24.300 --> 00:51:36.000
Yeah. into a sequence where the inevitable happens, but the whole TARDIS, you know, is all, isn't it on fire?

702
00:51:36.059 --> 00:51:37.019
isn't he putting it out?

703
00:51:37.079 --> 00:51:38.039
Am I incorrect?

704
00:51:38.099 --> 00:51:41.519
Yeah, that's when he 1st lands in the graveyard for the 1st time.

705
00:51:41.699 --> 00:51:46.079
But the 2nd, like that final scene, I think.

706
00:51:46.139 --> 00:51:52.860
And, you know, it's nearly sort of 7 minutes from the end, it's quite a long distance from the end.

707
00:51:52.920 --> 00:51:56.880
There's quite a bit of wrapping up to happen at the end of the story.

708
00:51:57.000 --> 00:52:07.139
And I think, you know, Moffat has learned to judge how much can go into 40 minutes or 35 minutes and allows himself enough time to see the character's reactions.

709
00:52:07.199 --> 00:52:19.980
And I think maybe the most shocking thing about the ending is how completely Rory and Amy are erased from the story at the moment that they're taken back in time.

710
00:52:20.039 --> 00:52:23.039
And we do get that finale.

711
00:52:23.099 --> 00:52:29.699
We do get the afterward in the book, the page that the doctor is torn out and left behind.

712
00:52:29.760 --> 00:52:34.440
So we are sort of reassured, but we don't get to see their response.

713
00:52:34.500 --> 00:52:43.800
We don't get to see their reunion and we don't get to see that scene where the doctor goes to Brian and explains what's happened.

714
00:52:43.800 --> 00:52:46.679
And I think that's kind of the right choice.

715
00:52:46.739 --> 00:52:56.340
I think that we do need to be a bit bereft, by their departure, and we do need to feel that it was traumatic.

716
00:52:56.400 --> 00:53:12.900
And my preferred option that I mentioned before, which is just they age out of the relationship and ask the doctor to stop coming around quite so much, is nowhere near as good as the ending where they're just yanked from us unexpectedly by...

717
00:53:12.900 --> 00:53:23.460
It's like, it's, you know, the bit where Jackie Hill gets shot by the um, the guy on the floor in their glass.

718
00:53:23.760 --> 00:53:33.420
Or, like, suddenly Rory gets shot by a layer or whoever the hell that is at the end of the Silurians too, partner, and it is that.

719
00:53:33.480 --> 00:53:35.099
It's kind of like, oh, everything's good.

720
00:53:35.159 --> 00:53:36.059
The episode's over.

721
00:53:36.119 --> 00:53:38.579
Oh, whoops. you know, off they go.

722
00:53:38.639 --> 00:53:51.300
I mean, the especially great thing about that is because you have 2 companions leaving, you can be extra cruel with Rory, he's sort of the supporting companion anyway, and it's about Amy's relationship to him, and just yank him out.

723
00:53:51.360 --> 00:53:52.139
We never see him again.

724
00:53:52.199 --> 00:53:54.239
Like mid-sentence pretty much.

725
00:53:54.300 --> 00:53:56.760
And then you can have Amy react to that.

726
00:53:56.820 --> 00:54:01.920
I know a lot of people are sad that Bory didn't get a goodbye, but it is kind of Amy's story at the end of the day.

727
00:54:01.920 --> 00:54:05.159
And I think having both of them means you kind of get to have it both ways there.

728
00:54:05.219 --> 00:54:11.219
Kevin, I completely and totally agree with you because I'm a huge Rory fan as opposed to an Amy fan.

729
00:54:11.280 --> 00:54:17.820
So it's like, oh, yes, he's got the short end of the stick again, but it's, that doesn't worry me.

730
00:54:17.880 --> 00:54:22.739
Like that's totally his relationship with the doctor and how the character has been treated over time.

731
00:54:22.800 --> 00:54:26.880
And also, there's a bit of a fake out because he, they walk to the Tartars, right?

732
00:54:26.940 --> 00:54:28.619
And you think, okay, they're going to get away.

733
00:54:28.679 --> 00:54:35.099
And then he makes the decision to be drawn back to the grave, to look at it, and then, boom, that's it.

734
00:54:35.159 --> 00:54:35.699
He's gone.

735
00:54:35.760 --> 00:54:37.320
So it's a causal link.

736
00:54:37.380 --> 00:54:42.420
His disappearance is caused by him spotting the result of his disappearance.

737
00:54:42.480 --> 00:54:47.280
It's another weird circular time thing as usual.

738
00:54:47.340 --> 00:54:48.539
But it's inevitable.

739
00:54:48.599 --> 00:54:51.539
You know, that's where the episode's supposed to end.

740
00:54:51.599 --> 00:54:59.039
And I think Moffatt sometimes kind of expects us to forget, you know, it's like, oh, okay, it's all over.

741
00:54:59.099 --> 00:54:59.699
We're good.

742
00:54:59.760 --> 00:55:05.639
And then suddenly it is actually surprising when Rory gets taken and it shouldn't be.

743
00:55:05.699 --> 00:55:10.920
We've known from the very beginning that this is the end of their story and there's no escape from it.

744
00:55:10.980 --> 00:55:12.119
Yeah, true.

745
00:55:12.179 --> 00:55:15.900
Look, I mean, I'm really into minds, possibly more minds, actually.

746
00:55:16.139 --> 00:55:19.199
There are so many different ways you could do this.

747
00:55:19.260 --> 00:55:39.179
Maybe another choice might have been, and I'm not saying this is better or worse, but you could have had while the doctor is reading the final page, you get a, you know, mute shots of Rory having just been flung back in time, being incredibly upset, and then looks up, and then there's Amy arrived as well, and they run and embrace each other.

748
00:55:39.300 --> 00:55:45.420
You know, just as a kind of a little softening of, but are you right, it's kind of more final.

749
00:55:45.480 --> 00:55:46.320
The fact they're just gone.

750
00:55:46.380 --> 00:55:46.800
Yeah.

751
00:55:46.800 --> 00:55:56.219
Going back to the original thing about how they leave and, you know, I was so wanting them to be, you know, to decide, I think we've had enough now.

752
00:55:56.280 --> 00:55:58.860
We've got to get on with this or whatever, whatever the reason is.

753
00:55:58.920 --> 00:56:06.900
And Martha is, again, my one of my preferred departures because there's a difference between that and the contract roulette thing. right?

754
00:56:06.960 --> 00:56:09.179
Obviously, contract roulette is unfortunate.

755
00:56:09.239 --> 00:56:20.159
Whereas I think the problem with most of the companion departures or too many of the companion departures in the modern era are not under their own agency.

756
00:56:20.219 --> 00:56:24.000
They lose their agency when they, the choice has been taken away from them.

757
00:56:24.059 --> 00:56:29.280
I know that where the characters were moving to that place of deciding that it's time to move on.

758
00:56:29.340 --> 00:56:32.219
But the final choice has been taken away.

759
00:56:32.280 --> 00:56:33.840
And I know that that makes for a great story.

760
00:56:33.900 --> 00:56:35.039
I'm into...

761
00:56:35.159 --> 00:56:35.579
Yeah, yeah, yeah.

762
00:56:35.639 --> 00:56:37.920
It makes such a great story and such a powerful ending.

763
00:56:37.980 --> 00:56:41.579
But it is just disappointing for me that this sort of thing keeps happening.

764
00:56:41.639 --> 00:56:43.380
Yeah, I think I feel the same way.

765
00:56:43.440 --> 00:56:46.739
I do like being gutted though.

766
00:56:46.800 --> 00:56:52.019
Like I like being upset by that departure because that's the right response.

767
00:56:52.139 --> 00:57:01.980
And the ageing out ending, that alternate ending is good in all sorts of ways, but we're robbed of it in a horrible way.

768
00:57:02.039 --> 00:57:07.440
And of course, then the doctor has the sads for the next episode, which is super important, I suppose.

769
00:57:07.559 --> 00:57:11.699
Like I said, I like being forced to grieve with the characters in real time.

770
00:57:11.760 --> 00:57:24.780
It helps me take it a lot easier once the characters are gone because I have had my moment to let it all out and be traumatised and it kind of lets you process that in the same time as the doctor, which I think is really well done.

771
00:57:24.840 --> 00:57:32.519
You get that sense of loss and then you get a couple moments to heal, which I think, I think it's the right choice, especially for a team as beloved as this one.

772
00:57:32.880 --> 00:57:38.099
It's interesting because I'd been complaining so much about this ending leading up to this end.

773
00:57:38.159 --> 00:57:38.699
Yeah, yeah.

774
00:57:38.699 --> 00:57:43.800
Like I really liked the fact that they made choices to let them go at the end of last season.

775
00:57:43.860 --> 00:57:50.280
But in the end, you know, I'm actually quite okay with what's happened here, right here and now.

776
00:57:50.340 --> 00:57:53.099
I do give, you're looking at my notes.

777
00:57:53.099 --> 00:57:54.239
I want to know what score you give it.

778
00:57:54.300 --> 00:57:55.980
Nine out of 10.

779
00:57:56.219 --> 00:57:57.000
I think it's great.

780
00:58:22.739 --> 00:58:27.300
Well, listen, that's all we have time for during this half of the year.

781
00:58:27.360 --> 00:58:32.099
We'll be back for a wintry Christmas in July with the snowman.

782
00:58:32.639 --> 00:58:52.320
In the meantime, you can find us wherever you get your podcasts, and you can keep up with us at Flightthrough Entirety on Facebook at FTE podcast on Twitter, and on our website, FlightthroughEntirety.com, where you'll find links to our other podcasts, Bondfinger, Jody Interterra, maximum power, and untitled Star Trek project.

783
00:58:53.039 --> 00:58:55.500
Kevin, where can people find you?

784
00:58:55.559 --> 00:59:09.420
Well, mostly, I am tweeting inane and kind of miserable thoughts right now, given the current state of the TV show, but that's at Scribble Script, and I've also been, you know, contributing to various things.

785
00:59:09.480 --> 00:59:17.280
There's the, uh, 12th doctor fan audios on YouTube, which I've been less involved with lately, but have been a lot of fun to work on, but they think they're about halfway through their series now.

786
00:59:17.400 --> 00:59:23.579
I've been doing some stuff on the new adventures as part of an ensemble group for the TARDIS scene.

787
00:59:23.639 --> 00:59:25.559
And that faction paradox short.

788
00:59:25.619 --> 00:59:28.500
I keep threatening people with is, I think, finally almost out.

789
00:59:28.559 --> 00:59:30.360
I don't know a date on that yet.

790
00:59:31.019 --> 00:59:35.280
Until next time, remember, everything has got to end.

791
00:59:35.280 --> 00:59:38.340
Sometime, otherwise nothing would ever get started.

792
00:59:38.460 --> 00:59:41.039
Thank you very much for listening and good night.

793
00:59:41.099 --> 00:59:42.840
See you soon.

794
00:59:42.900 --> 00:59:43.440
Bye for now.

795
00:59:43.500 --> 00:59:44.159
Good night.

796
00:59:48.480 --> 00:59:54.300
That was Flight Through Entirety, starring Todd BLB, Nathan Bottomley, Kevin Bernard and Simon Moore.

797
00:59:54.360 --> 00:59:56.340
Theme arrangement by Cameron Lamb.

798
00:59:56.400 --> 01:00:03.360
This episode, River Knows All the Space Reasons, was recorded on the 24th of April 2022, and released on the 8th of May.

799
01:00:03.420 --> 01:00:10.320
You've just heard that we're taking a few weeks off before the Christmas special and that we'll be doing the rest of series 7 later in the year.

800
01:00:10.380 --> 01:00:15.840
So next time you feel like complaining about Moffat and Shipnell not releasing enough, Doctor Who.

801
01:00:15.900 --> 01:00:24.179
Remember that with all the resources of FTE studios behind us, even flight through entirety came in with a reduced episode count in 2022.

802
01:01:00.360 --> 01:01:01.199
Nine out of 10.

803
01:01:01.440 --> 01:01:02.159
I think it's great.

804
01:01:02.940 --> 01:01:05.219
I think that's where you ended.

805
01:01:06.059 --> 01:01:09.239
I think that's where the TARDIS takeoff comes in.

806
01:01:09.300 --> 01:01:10.920
What do you reckon?

807
01:01:11.280 --> 01:01:14.639
I should say, and that's why I give this 9 out of 10.

808
01:01:15.780 --> 01:01:20.460
So what time do we have people arriving?

809
01:01:20.579 --> 01:01:22.380
1130 for Peter?

810
01:01:22.679 --> 01:01:24.900
Peter's going to be here and then it's just us.

811
01:01:24.960 --> 01:01:26.519
It's just 4 of us.

812
01:01:26.579 --> 01:01:27.179
Yeah, cool.

813
01:01:27.239 --> 01:01:28.860
So we'll move and stuff.

814
01:01:29.159 --> 01:01:32.400
So, Kevin, we might let you go.

815
01:01:32.460 --> 01:01:34.320
Is that all right?