In the past eight months since I last wrote about Matt, I have filled my twitter and Facebook timelines with immediate news of Matt's appearances in the media and /or conventions. There hasn't been one detail that had gone unnoticed. For a man who does not have any current projects for us to watch, he is certainly in the media often or enjoying the convention circuit.
Fan Expo is hosting an event with Matt Smith, Karen Gillan and Arthur Darvill. Attendees purchase tickts to the convention and then tickets on how they will be seated in the panel. They pay more if they want a photo and/or autograph. By the end of this weekend, I will have spent $450 to sit in a room with him twice and to take a photo with him. I would genuinely do it all over again.
According to some fans, it is still possible to give talent cards at American cons, but it is increasingly getting more rare as security threats become more frequent and real. I wanted to give Matt a thank you card and quickly discovered it is near impossible.
You can't give it to a handler during the photo ops as they need to keep the flow of pictures happening frequently. You can try giving it during an autograph session, but not to a volunteer to pass onto a handler. So if you want to give Matt a thank you card at the fan expo, you would probably have to pay another $110 with tax just to hand it over.
Knowing I only had five seconds with him, I decided to choose one sentence that could sum up my entire experience with him. He finished taking a photo and then leaned forward with his hand extended to shake it. He greeted me with a warm smile and general courtesies. It was so hard to speak while being so close to him and looking directly at him. "Thank you for saving my life" I said. He titled his head slightly and thanked me.
Then he turned towards the camera with his hand on my shoulder. I was still in a daze and it took a while to even register he had his fingers up in a peace sign and I thought "There's something I'm suppose to be dong now, but what?" By the time it registered with me to also raise my arms and fingers, the picture was taken and I had to shake my head slightly just to return back to normalcy.
I remember putting my arm around him and thinking he seemed much smaller than I had imagined, but also so comforting and reassuring.
It's been a rather insane day with discovering I had lost a baby only fifteen minutes before Matt came out for his first panel in Toronto and then getting lost in the happiness of that panel and Arthur Darvill's, but also dealing with the loss of a baby. Talk more soon.
I've always said discovering your first doctor is akin to finding your first love. Yes, there will be others in your life, but nothing is quite the same as your first. This post will be about my first.
Six months ago I slumped into my chair and decided to watch an episode of Doctor Who. My expectations were pretty low, but so many people recommended me to watch the show and I am always open to new things. I was pleasantly surprised it wasn't as horrific as I thought it would be. I could see why people would find it entertaining, but I was unaware that it was a children's show and thought too much of what I had seen was juvenile. Determined to find out why in the name of sanity anyone would recommend this show to me, I thought perhaps watching a later season would help. I went onto IMDB and read the plot synopsis for all the episodes of season one and then tried season two. I still couldn't be moved to watch the show. Feeling rather dejected and a tiny bit frustrated at wanting to like the show, but not really having the capability of doing so I tried one last measure.
The Eleventh Hour is not only masterfully written, directed and performed, it is when I first fell in love. Celebrities often talk about the distinction between character and performer. Audiences fall in love with the character and impose those ideals onto the actor hoping that by extension they are one of the same. Although all roles do have elements of the performer in them, another part of it comes from their imagination and interpretation. I think I was a bit more armoured by the actor than I was the character initially.
If we were to describe the episodes as dates, I would say The Eleventh Hour is like going to dinner on a blind date. You're not entirely sure about this person, but there is something charismatic and intriguing about them. You're having a good time, but you're not entirely sure if it's just a flook or first impression thing or it's an indication of something much more permanent and lasting. I left the date a bit unsure of the Doctor, but willing to give him a few other dates before I decide whether or not this relationship is going to last. I immediately felt quite different about Matt Smith. He held my fascination far beyond the show.
I immediately went online and scourged the internet for every conceivable video, article, interview, material of any sort on Matt Smith. The more I discovered about him, the more deeply I felt for him. In essence, it was Matt who persuaded me to give the Doctor a few more chances. Although I can't possibly say I know Matt on any level, I do feel a certain connection with the public persona he has presented.
By the time we got to Vincent, my feelings toward Matt and the Doctor began to merge. I fell for them equally on their own accord. The Doctor seduced me with his awkwardness and endeared me to him with his complexity. Matt swept me off my feet with his gift as an actor, remarkable nature as a human being and his interactions with children.
At the same time, I was genuinely falling more and more in love with my husband. I would see greatness in him that I had overlooked or taken for granted. I took more time to appreciate him and to strive to be a better wife. Although I could not explain why my marriage was hitting new strides at the same time I took on a new show, I knew that the more I spoke about Doctor Who the more I saw changes in my husband and better ones too. I think we have been happiest in these last six months than we have in the last nine years together. I can't really credit the show for this high, but I can at least wink at it.
I also got a job and the contract end within this time and it made me revaluate what I want to do with the rest of my life. I no longer seemed content with hoping for the best to come along and to try the same angles, but I needed something more concrete. I needed something tangible. I began to figure out a way to start making my husband and I's dreams a bit more real. I found strength where I thought there was none. I found energy when I thought all had been depleted from me. I made changes to ensure we would have something feasible to look forward to.
During this time, I was also consulting doctors in hopes of having a child. They gave me medication that made me so ill it required me to walk with a cane for months. My lifestyle had to change. I had to stop being a vegan and was ordered to eat steak breakfasts amongst other things. I did all of this in the hopes of having a child. It never really occurred to me that I wouldn't be able to do so. I had written diary entries to my unborn child when I was a child. I became a genealogist and even went to Sicily and Hong Kong/China to research my roots and see where my ancestors came from. Each day I would write diary entries again to that unborn child telling that what I had discovered and how excited I was to one day be able to share stories with them too.
Then we found out I may never have children. All my efforts were in vain. Yes, there's still a glimmer of hope but expectations do need to be altered. And like that over three decades of dreams and aspirations shattered. I realized I needed to learn how to transition to a new life without kids. I had to do so without ever resenting my husband and put in the same amount of energy into my marriage that I would into those imaginary kids to ensure we continue to ride this high and that we will continue as a couple until we are old and grey.
They say we dabble in celebrity crushes, because it is safe. We know we will never meet these people and if we do it will be in a fleeting moment. We will never have a rapport with them. You can indulge in any kind of fantasy or fancy that you like and once it simmers down you can just move on with your life. I think that is exactly what the Doctor and Matt provided. It was a solace and escape from the shattered dreams, health and employment issues, and unchartered territory in life's journey.
What surprised me is that these fantasies allowed me to come to terms with things I am not sure I would have in more conventional methods. The fairytale aspect of Moffat's Doctor Who allowed me to not only feel like a child once more, but to also get lost in a world with children and not mourn my own loss. It allowed me to go freely into the world and interact with children and family and friends who were either pregnant or had children without any kind of discomfort. Yes, there were days when I might cry in the shower or weep in bed over the life I was so hoping to bring into this world and the life that I would never meet. I had to mourn a little over the loss of life I thought I was brining into this world and the grieve the loss of life I had imagined for myself for over thirty years. In terms of complete and utter devastation, I never had that experience and I credit the Doctor and Matt for my ability to cope with it.
It's weird knowing family histories that date back generations into the Elizabethan and perhaps Renaissance time. It's weird knowing details about them and the world they lived in only to realize that after so many generations you are the last person standing. There is no more legacy. There are no more stories. This is the last one. It's weird knowing all the trials and tribulations these ancestors went through to preserve their legacy and all the horrors they had to endure and survive in order to make sure the lineage continues and yet it ends with you. To make it all the more sad, it's weird knowing you're one of two that really cares. The second person is your father and so it is expected you will outlast him too. In the end, all that history and all that legacy will vanish like a breath on a cold dreary day.
It's no wonder the Doctor's pain of being the last of his species somewhat resonates with me. I'm far from the last human in this world, but I am the last of my story. Seeing how the Doctor handles being the last has given me ideas on how to transition to me being the last.
I've always felt a bit out of sorts and a bit socially awkward. I get along with people fine and can make instant friends simply by standing next to them in line or some other mundane aspect of life. It still felt nice to see have a somewhat awkward person to follow through all of this as well. Matt seemed rather unpolished in his ways with the media and others. It's like he understands the basic principles and knows how to apply them, but it doesn't always come out the way he had intended. I loved him for being himself and often questioned those who remarked on his weirdness or eccentricities. He seemed normal to me and perfectly in the right and so it brought some solace to know there will always be one other person who sees the world slightly differently.
Since I still took many of my leads from Matt when it came to how far this relationship with the Doctor will go, it was his enthusiasm for the franchise as a new follower that enticed me to really give this Doctor my complete and utter commitment. I watched classic and NuWho episodes. Each doctor you meet is like meeting a new partner. You're never sure how far these dates are going to go. Sometimes you hit it off really well with one and not so much with another. Soon you have a string of potential partners and exes to some degree. All of them have a special place in your heart, but none so much as that first love.
I've seen posts saying true Doctor Who fans are loyal to the Doctor and not to an actor and I think there is an element of truth to that sentiment. I have every intention of continuing to watch the show once it returns in September. Considering a woman could actually get pregnant and conceive the child before the new season even begins, I have a feeling a bit of the furor over the show might diminish. I trust Peter to rekindle it as soon as we start anew.
I also think being smitten with Matt also leaves a certain legacy of its own as well. I plan to watch How To Catch a Monster when it comes out and to follow his career quite closely. I have all faith that only good things will come along his way as he continues to show everyone his astonishing abilities as an actor. If the rest of his filmography is any indication of what the future will bring, I am also confident these projects will be interesting, thought proving, and amazing.
Like any other relationship, it is always hard to let go. It will take some time before I'm ready to completely say goodbye to Eleven. Until then, I can at least remember the time when I first fell in love with The Doctor and the man who portrayed him.
The angst over the backlash of Time of the Doctor has subsided and now I am left awake in the middle of the night reflecting on Matt's legacy. I thought instead of trying to simply reformat an older post, I will try writing a new one with hopefully the same message. The following is an examination of Time of the Doctor. The best thing to do is to scroll down to the part that most interests you.
I should point out four things as well.
The first being is the episode is best seen without commercials. It is how I first saw it and when I tried watching it with commercials, I was slightly disappointed in how long you had to wait and how the disruptions and edits really do take away from the intended purpose of the story.
The second is I transcribed the text myself and I'm slightly hard of hearing so please forgive me if there are any discrepancies.
The third is each point covers a complaint I have heard about the episode or series.
The fourth is the episode is quite different when you watch it with commercials. I saw the episode twice without commercials and I started a third time with them. The intent of the episode is altered with commercials and the pacing feels wrong.
Here are the topics:
Doctor Who as a fairytale (and why the alliance between the Doctor and The Silence makes sense)
The Silence and Silence Will Fall (and the real flaw with the logic on that one)
Sense of Humour
Mad Man in a Box (why it works in pop culture and the show)
Sexuality (and my uncertainty of why this was ever a issue)
Self references (and why I love them)
Sexism (and the argument towards occasional acceptable sexism)
Rip in the fabric of reality. blowing up the TARDIS, Doctor Who?, Trenzalore, River Song, Daleks
Sending Clara away. Twice.
Handles and Regenerations (and why Matt Smith is a gifted actor and superior to his predecessors)
Matt's regeneration (and how it showed the truly worst and best of the fandom and why regenerations don't matter)
DOCTOR WHO AS A FAIRYTALE
Russell T Davies and his stars tried creating an exciting sci-fi drama, but Steven Moffat and Matt Smith were more interested in the whimsical fairy-tale aspect of the show. I learned long ago never to desire logic when it comes to Doctor Who in any of its incarnations, which is why Moffat's idea appealed to me so greatly. It was the one way I could respect the show on its own merits.
Tasha Lem is our narrator throughout the episode and she appears five times. Here is the complete fairy-tale.
Once there was a planet like any other and unimportant. This planet sent the universe a message. A bell tolling amongst the stars ringing out to all corners of creation; and everyone came to see. Although no one understood the message, everyone who heard it found themselves afraid, except one man. The man who stayed for Christmas.
In the time that followed, the papal main frame strove to maintain the peace between The Doctor and his enemies.
As the days passed, and the years, The Doctor stayed true to his word. On the fields of Trenzalore, he stood as protector, both of his own people and his new home. Over time, The Doctor's found new and stranger ways of entering the town called Christmas.
With every victory, the town celebrated. In time, The Doctor forgot he lived any other life. The people came to love the man who stayed for Christmas. And so onto the fields of Trenzalore came all the Time Lord enemies. For this was the winter of The Doctor. In time, when all the races had retreated or burned, only the church of the mainframe remained in the path of the Daleks. And so those ancient enemies, The Doctor and The Silence, stood back to back on the fields of Trenzalore.
I think it is significant to see the fairytale as a whole to see how much it resembles stories told through oral tradition or ones spoken to a young child before sleep. Fairytales do offer explanations, but they are not required to examine all the scientific and logical possibilities. It is enough to know the Daleks slaughtered many people on the mainframe and that the Silence is one of its employs, which is why they are teaming up with the Doctor at the end to defeat the Daleks. Although it is a pairing we may not have thought aligning together, the explanation of the enemy of my enemy is thy friend is sufficient.
THE SILENCE AND THE SILENCE WILL FALL
The Silence were always my favourite creatures on Doctor Who. They are the only ones that genuinely creep me out.
When Clara asks what are those things as they stroll through the papal mainframe, the Doctor replies, "Professional priests. Very popular. genetically engineered so you forget everything you tell them."
Some fans found it disappointing that there wasn't a more in-depth explanation for these reoccurring villains. Given the fairy-tale aspect of Moffat's era and the time limitations in the episode, I found it the explanation an efficient way of letting us know why people forget them.
Earlier in the episode, we see and hear Tasha deliver a speech to her employs. "Attention to all chapels and friars of the mainframe. The siege of Trenzalore has begun. There will now be an unscheduled faith change. From this moment on, I dedicate this church to one cause. Silence. The Doctor must not speak his name. And war will not begin. Silence will fall."
Given how audiences have already seen the devastation that could sweep this planet and the sea of graves that could litter the land with Time Lords and enemies alike, I thought it was a nice touch that someone other than the Doctor was trying to maintain peace in the universe. In essence, The Silence have the same function as The Doctor, in trying to save the universe from an all out war and to stop the complete elimination of the Time Lords. The only difference is they go back into his timeline to ensure he never speaks his name without even knowing why he isn't suppose to utter it or that his name is an answer to a question that must never be answered/asked. The only flaw if I were to point one out isn't the lack of an explanation for these two reoccurring ideas, but why didn't the papal mainframe go back in time and simply tell the Doctor what was happening and ask him to never reveal his name. Since he wants to protect his people as much as they do, I am sure he would comply.
A SENSE OF HUMOUR
The franchise has always kept a sense of humour. Some doctors like Patrick Troughton and Sylvester McCoy really played up the clownish aspects of the Doctor and we see them again in Matt Smith. Considering the original demographic for the show was aimed at children and it still retains its childish audience, I think it is appropriate we do have more of a whimsical and silly doctor. If we look at Matt's predecessor, we notice David can be silly as well wearing 3D glasses and a tie on his head amongst other things. So here is a list of some things I found funny in the episode
(a) The Doctor showing up with a Dalek's eye piece on board a Dalek spaceship
(b) The Doctor offering peace to Cybermen while holding Handles.
(c) Clara's request for the Doctor to be her fake boyfriend.
(d) The Doctor's nudity as a form of respect for the papal church.
(e) Clara's family reacting to the Doctor's nudity.
(f) The Granny's interest in the Doctor.
(g) Clara's explanation The Doctor is Swedish
(h) Clara using the TARDIS for turkey, missed birthday's and restaurant bookings.
(I) The Doctor telling her to use iplayer.
(J) Making fun of the fan's reaction to Matt shaving his head for How To Catch a Monster by making the Doctor bald and Clara commenting on how he shaved his head.
(K) Addressing the fan's concerns and complaints about him wearing a wig by making the Doctor point out he is wearing a wig
(l) The papal mainframe's reaction to killing the Sonatrans. "The church of the papal mainframe apologies for your death. The relevant afterlives have been notified."
(m) The Doctor muttering about how the Daleks take so long to say anything he will die of boredom before they can shoot him.
There are many other scenes and moments too that are funny, which will be mentioned in other sections.
MAD MAN IN A BOX
It was quite clear from the beginning Matt Smith and Steven Moffat were both attracted to the idea of a mad man in a box. I think these type of character archetypes work really well. A large part of Fringe's success was Walter and his eccentricities. Back to the Future would be quite different without Christopher Lloyd. Characters like Sheldon on Big Bang Theory, Spock from Star Trek, or Data from Star Trek: The Next Generation would not be as endearing if he wasn't as socially awkward.
One of the key features of Eleven is how he lacks a filter between his thoughts and speech. He also has a tendency to change his mind while he's talking aloud. In the scene where the Doctor and Tasha are about to enter a room for a private conversation, we can see an example of Eleven's typical speech patterns.
Anything you say in front of me you can say in front of Clara. Well, quite a lot of it. Probably about half. Maybe a smidge. Clara, would you mind waiting out here please?
The constant reactions is one of the reasons why the Doctor is so endearing.
SEXUALITY
Critics seem to take offense over the companion's attire and the amount of kissing in the rebooted version of Doctor Who. Given the amount of allowed nudity on British television, I have always found it puzzling. American critics never seem to pick up on this aspect and their culture tends to be more prudish when it comes to sexuality. Some of the classic doctors have also spoken out regarding sexuality saying it makes little sense these women would be attracted to an alien and even less sense that the alien would reciprocate the feelings. although there is logic to their reasoning's, I think many women find the recent doctors from Paul to Matt to be attractive and therefore can understand the appeal. It is also a bit odd since our Doctor feels comfortable flirting, but not with sexuality.
We see him sit on the bed/altar when he notices two drinks. He sips one and immediately spits it out back into the cup. The social awkwardness of our doctor is seductive. Tasha leans in to him and we see his feet and legs rise before he decides to stand up. It's clear her close proximity makes him more awkward. He looks rather uncomfortable when she whispers and leans into him.
He doesn't seem to have a problem walking around the bed and leaning in towards Tasha. Moffat/Payne uses their sexual energy and tension to pass on a lot of exposition. It ends up as a linguistic duel on the bed with Tasha and the Doctor face to face.
TASHA: No one wants to go first.
DOCTOR: I do.
TASHA: I was counting on it.
Although on the surface it seems like they are having a conversation about the events happening at the moment, fans cannot help but remember Matt's speech at Stonehenge where he challenges his enemies to send someone else in first. They also can't help but notice the words spoken in this scene seem to have a slight sexual innuendo attached to them.
This comes into further play when he is talking to the Dalek version of Tasha. He goads her into resisting the Dalek version of herself by pointing out what a strong woman Clara is and how disappointed he is in relying on a "nun to do a Doctor's work." A spark of recognition awakens her and she lets go of Clara as her hostage, slaps the Doctor and then fires beams of light out of the palm of her hands to attack the Daleks. The Doctor kisses her and says he could never resist a row.
TASHA: Kiss me when I ask.
DOCTOR: Well you better ask nicely.
TASHA: In your dreams.
Admittedly, the look on Clara's face is a bit heartbreaking. You can see how much she wants the Doctor to kiss her the way he kissed Tasha. I am actually not sure why he never does kiss her completely on the mouth as she's the only woman he describes with a great amount of love (other than River Song at the end of Name of the Doctor). Although there is kissing and flirting in the scene, I found both cases amusing rather than point of discussion against the show.
SELF REFERENCES
Moffat's constant use of self references seems to be a point of contention. I find most fans who complain are not part of Matt's era. In addition to the fairy-tale aspect of Moffat's vision, there is also a great self awareness of the franchise and series. Whereas Davies tried creating something serious, Moffat relishes in the absurdity and ridiculous nature of Doctor Who. Although these fans see the self references as indulgent or symptoms of lazy writing, I see them as cute nods to the fans who have grown to love the show. It's akin to hearing Obi-Wan say "I have a bad feeling about this" in Star Wars: The Phantom Menace.
Here are some cute references (others are listed in other sections)
(a) Clara has bowties on her sweater when we first meet her.
(b) Don't even blink.
(c) Doctor identifying himself as the new sheriff (like in A Town Called Mercy)
(d) Wooden cyberman says incinerate rather than assimilate
(e) Giraffe dance
(f) Cool is not cool
(g) bigger on the inside
(h) Matt leaning against the wall investigating the rip (Eleventh Hour)
One of the more touching nods towards Eleventh Hour is when the Doctor finds Barnable sitting outside the TARDIS.
DOCTOR: You gone in my TARDIS Barnable?
BARNABLE: You coming back?
DOCTOR: Nah, c'mon. You know me.
BARNABLE: I'll wait.
We can't help but think of Amelia Pond at this moment. We see the same hero worship in Barnable's eyes and the Doctor's reaction to a child willing to wait for him.
Then there is the poem read aloud which we have heard in previous episodes. Clara is with the aging Doctor at what seems to be his final moments. They try opening a cracker, but the Doctor is too feeble so she places her hand upon his and helps him. She opens it up and reads out the following poem.
Extracts from Thoughts on a Clock by Eric Richards Jr.
Now it's time for one last bow
Like all your other selves
Eleven's hour is now over
The clock is striking twelve.
Doctor: I don't get it.
I have always loved the wordplay in this poem. The bow as in a theatrical or courtly bow, but also as in bowtie. The other selves could be taken as in previous regenerations. Eleven's hour sounds like The Eleventh Hour, but also a reference to our current doctor.
Shortly after a man comes into the room and the Doctor asks if he is Barnable. The man says he is not, but the Doctor refers to him as Barnable anyways. It is clear from Clara and the man's face they are unsure whether the Doctor has given into senility or it's just his way of speaking. He reassures the man he has a plan.
DOCTOR: I haven't got a plan, but people love when I say that.
CLARA: Doctor, what are you going to do?
DOCTOR: I don't know. Talk really fast. Hope something good happens. Take the credit. Generally how it works.
The self awareness that our doctor generally does talk really fast and something happens is not only a great foreshadowing of what is about to happen on the tower, but also a nice nod to what happens int he show. I also have always found it impressive Matt can deliver so much dialogue at such a quick speed while still giving the character the integrity and growth it needs.
After the Daleks call upon the Doctor to come up and speak with them, Clara pleads for him not to go. He asks her to stay down below and she asks why. I thought his words to her were a nice nod to what he has always called her, but also such lovely and sad parting words.
I'll be keeping you safe. One last victory. Allow me that. Give me that. My impossible girl. Thank you and goodbye.
The hug and kiss he gives her is reminiscent of when he held her in the Name of the Doctor, but also the words spoken remind us of what he has said so many times before.
SEXISM
Mofftat has come under fire for his treatment and portrayal of women with some feminists claiming he is sexist and misogynist. I honestly think the whole Moffat army has a strange sense of media relations. From what I have read in the papers regarding cast members, Steven Moffat, Matt Smith, Karen Gillian, Jenna Coleman and Benedict Cumberbatch all have unpolished manners in terms of public relations. Whereas we are accustom to celebrities who are media savvy and never say an unkind word, these people all seem to speak to the press and media as if they were speaking to close friends. There are ways you speak to friends or about friends in the privacy of your own home or such that you would not do in public. I think when you see the context of their statements it is easy to say they are not sexist or misogynistic.
In order for you to complain about something to be sexist or misogynistic I think you need to examine the level of acceptable behaviour. Our society is run on gender inequalities and women surprisingly perpetrate many of these injustices. It is female authors who are creating female leads whose main problem is choosing between two men and often favouring the one that is abusive and cruel. It is women who dream about wearing a white wedding dress and celebrating the tradition of being passed off between father and husband as a property transaction. There are so many things wrong today with female role models that were minimal in the seventies and eighties when I was growing up and female empowerment was a real thing.
If we are to examine the rap culture whose lyrics and actions often refer to women as bitches and hoes or to the pop culture where Britney Spears comes under fire for her criticism on how women are treated in the modelling industry in Work Bitch. Then there is Blurred Lines by Robin Thicke where he casually mentions a woman in the room as a bitch.
Grand Theft Auto takes it a step further by encouraging players to beat and kill prostitutes. The videogame and comic book subculture is littered with unhealthy and degrading images of women.
If you think Steven Moffat is sexist or a misogynist then you are entitled to your opinion. Admittedly, many of his comments prove the man needs a public relation department, but some of them seem to be in the realm of acceptable behaviour given the proper context. I don't think you can call the actual show sexist or misogynistic.
I tried to keep an open mind when rewatching the episode. Our female protagonist is seen fretting over a date, cooking a turkey, and when having to speak about herself in a truthful fashion, this is what she has to say "I'm an English Teacher from the planet Earth who ran away with a man from space because I fancy -" and when describing her personality she says "bubbly personality masked in bubbly control freak."
I think this is where we go into acceptable forms of sexism. Yes, it is a bit disappointing that our female protagonist is fretting over boyfriends and cooking turkeys and admits to running away with the Doctor, because she likes him. The reality of the situation is that we, like Clara, also ran away with our Doctor because we liked him too. There was something charming or interesting about the character that endeared us to him and that's why we joined him every week on a new adventure. We can't really blame Clara for doing what we do all the time. As for the girly behaviour, I cannot count how many times my friends and I thought we would not fall into the traditional roles of wives and mothers only to find out so many of us actually enjoy cooking and/or fretting over our men (or lack of one). Again, it's hard to call Moffat sexist for something we indulge in our daily lives.
There is, however, a scene which didn't get much attention from feminists but I think deserves a discussion on their behalf. The Daleks have infiltrated the room and threated to kill Clara.
DOCTOR: Fine. Go on then. Kill her. Kill her. See if I care. But tell me what are you going to do next? DALEK: See how the Time Lord betrays. CLARA: You'll kill me anyways. What difference does it make? I'm not afraid. I leave that up to you. DOCTOR: See Tasha, that's what I'm talking about. That is a woman. I always knew you were a bit spineless. You and your pointless church. Why did I ever rely on you? Never trust a nun to do a Doctor's work.
The indifference and harshness towards both female characters could be construed as sexism or misogyny. I think context plays a part in this as well. I think we are suppose to infer the Doctor does not truly feel this way, but knows he must act this way in order to get Tasha to break free from the hold the Daleks have on her. He's intentionally hurtful in order to save both women. I would have a hard time arguing a strategic ploy to save someone is sexist or misogynistic.
RIP IN THE FABRIC OF REALITY
BLOWING UP THE TARDIS
DOCTOR WHO?
TRENZALORE
RIVER SONG
DALEKS
These topics are all strewn together as they seem to be intertwined. It's difficult to speak about one without bringing up the others. We begin with an example of the Doctor and Clara in the tower looking at the rip in the wall.
DOCTOR: A split in the skin of reality. Tiny sliver on the 26 of June 2010. The day the universe blew up. CLARA: Missed that. DOCTOR: I rebooted it and put it back together again. CLARA: That's good. DOCTOR: It was my TARDIS that blew up in the first place. I felt a degree of responsibility. But the scar tissue remains. There is a structural weakness in the whole universe. And someone is trying to get through it. Not outside our universe, but somewhere else. Of course, of course, it makes sense. CLARA: It does? DOCTOR: Yes, if you were trying to break through a wall you would choose the weakest spot. If you were trying to break into this universe you would choose this crack because. No. If you were trying to break back into this universe. You said Gallifrey. Why did you say Gallifrey? HANDLES: Analysis of message composition indicates Gallifreyan. Origin according to TARDIS data banks. CLARA: You said Gallifrey was gone. DOCTOR: No, I said it was in another universe. The message is coming through here. The truth filter is too. If I had to guess, it's the Time Lords. If it's the Time Lords. Say you're the High Council in Gallifrey in terror of The Master and Death Zones. There is an algorithm imprinted in the atomic structure. Use it to decode the message.
A few things must be said about this explanation.
(a) Benedict Cumberbatch and Matt Smith have both spoken openly about how difficult the scripts are to memorize/perform. I think it is a testament to both men that it never comes across that way on screen. When you take the time to write out what they are saying and see how many unfinished sentences there are or longer strings of sentences, it is easy to see why it may not always be easy.
(b) This dialogue serves as a reminder of what we know from previous episodes.
(c) It leads into the whole age old question aspect of the show and offers an explanation for current events
DOCTOR: A question only I can answer truthfully to make sure I'm not lying. If I give my name, they'll know they found the right place and it's safe to come through.
Then Tasha beckons him to speak with her.
TASHA: If you speak your name, the Time Lords will return. DOCTOR: If they return, they will come in peace. TASHA: It doesn't matter. They will be met with a war that will never end. The time war will begin anew. You know that doctor.
DOCTOR: They're asking for my help. TASHA: And if you give it, war will be the consequence. I will not let that happen. At any cost. Speak your name and the world will burn. DOCTOR: No, this planet is protected.
The Doctor is placed in a real moral dilemma at this point. The audiences along with the Doctor, Clara, and River have seen the sea of graves that lie in the future. If the Doctor reveals his name, he could be sentencing his people to complete annihilation once again. He's already lived with the extinction of his species, could he bear to go through it again? If he doesn't reveal his name, there is a chance for his people to remain frozen in time in another universe. The cost of lives will be less and there is a chance for peace. In the end, the Doctor must choose between a reunion of his people or a lifetime of isolation to protect them.
A fight or war does eventually break out and the church is dismantled or scattered in their joint efforts to keep the peace with the Doctor. It never amplifies to the point where it would have in the future we saw.
The real contention seems to have occurred in the scene where Tasha, Clara and the Doctor are sitting in a room. We just discovered Tasha is the supplier we heard about in the Handles speech and they are about to embark on a linguistic duel.
TASHA: Not me. The cavarian chapter broke away. They travel back along your timeline and try to prevent you from ever reaching Trenzalore. DOCTOR: So that's who blew up my TARDIS. I thought I left the bath running. TASHA: They blew up your time capsule that created the very cracks in the universe, which the Time Lords are now calling. DOCTOR: The destiny trap. You can't change history if you're part of it. TASHA: They engineered a psychopath to kill you. DOCTOR: Totally married her. I've never made it here alive without River Song. TASHA: I'm not interested in changing history Doctor. I want to change the future. The Daleks sent for reinforcements daily. They are massing for war. Three days ago they attacked the mainframe itself. DOCTOR: They attacked here? CLARA: How did you stop them? TASHA: Stop them? It was a slaughter. DOCTOR: Why didn't you call me? I could have helped. TASHA: I tried. I died in this room calling out your name. DOCTOR: No. TASHA: Oh, I died. Funny the things slip your mind.
The fans dedicated to River Song were hoping for more than a passing line and those who really enjoyed The Silence were hoping for more as well. They seemed equally frustrated with a lack of explanation for the TARDIS blowing up.
I think anymore exposition would have ruined the scene. Tasha and the Doctor are engaged in a verbal war with each sentence meant as a striking blow to the opponent. It almost seems like they are playing a linguistic version of chess with so many calculating moves.
It begins with TASHA explaining why we have seen the Silence and so many people in previous seasons trying to rid the Doctor. If he never makes it to Trenzalore, then none of this ever has to transpire. No bloodshed needs to occur. No moral dilemmas to resolve. The Doctor's sacrifice would end up saving so many people and species. Tasha doesn't present it as an apology, but as an example of her power and the extent of where she will go in the name of peace.
The Doctor retaliates with feigned indifference. It's not that he doesn't care or actually thinks he left the bath running, but more to show his opponent that it will take a lot more than travelling in time to chase a time traveller to prevent something from happening. Indifference can be seen as a much more powerful tool than rage or anger. It shows control and also a sense of superiority that your little tricks are quaint.
Tasha retaliates with reiterating the significance of their strategy and the Doctor mildly concedes there is an element of brilliance to their plan. He does so with a mocking tone, which only compels Tasha to change tactics to try to get underneath his skin. She brings up the creation of an assassin to ensure the Doctor never reveals his name. The Doctor dismisses this as child's play when he not only points out how their plan backfired, but he was able to turn their weapon to his advantage by having her fall in love with him and protect him.
It is time to concede she is slowly losing this verbal war and to play one last tactic that might break the Doctor. It is her description of what occurred on the ship that is chilling. Our imaginations will always be far worse than anything Moffat can show us and so we are left with the original intent for the Daleks and that is to creep us out. It is the horror and/or sadness of watching his part rival and part friend transform into what he detests the most and to hear of how it all ended that might actually break him.
I thought it was interesting also to have Tasha deliver the last line that is reminiscent of when we first meet Clara.
SENDING CLARA AWAY. TWICE.
There was criticism regarding sending Clara back home in the TARDIS. It is surprising that in these discussions no one really talks about how the Doctor looks her in the eye and lies. After already being sent home, Clara asks the Doctor to promise he will never send her away. He looks at her says he won't. It is possible that at that very second he honestly believes he won't. Then he sees Barnable on screen and you know he is reminded of the child who waited.
We already know he has a weakness for sad children. He can't let them down. So when Clara comes up with her turkey and notices the Doctor isn't by the console, she walks out and back to her apartment only to hear the Tardis wheezing behind her. When the TARDIS returns to Christmas, we see the Doctor made his choice to stay with Barnable.
BARNABLE: If you're not leaving, why did you bring it back? DOCTOR: It's a reminder. Besides, I might leave tomorrow or the next day or the day after that.
The look on Barnable's face as the Doctor walks away uttering these words is also a bit heartbreaking. I would like to think the reminder for the Doctor isn't the ability to escape at any moment, but rather a reminder of who he left behind. Clara is never far from his thoughts, but there is so much happening and he doesn't want to put her in harm's way.
Although I'm sure most understand these sentiments, I think the discomfort comes from having the same plot device to write out Clara while the rest is going on.
HANDLES AND REGENERATIONS
I often speak about the nuances in Matt's performance, but never take the time to break it down for you. I often speak about how Matt is gifted and perhaps superior to his predecessors, but don't offer an in depth explanation of why I think so. This is me trying to explain. You will need to jump to around 30:55 in the episode to see what I am referring to in the following scenes. The first one begins with the Doctor and Clara waiting for the sun to rise with Handles next to them.
DOCTOR: Well, it's a stand off. They can't attack unless I unleash the Time Lords. I can't run away, because they'll burn this planet to stop the Time Lords. After all these years, I finally found someone who needs me to stick around. Town called Christmas. Could have been worse. Right. Here you go buddy. You comfy? HANDLES: Comfort is irrelevant. DOCTOR: How's that? Is that better? HANDLES: Affirmative. DOCTOR: Just take it easy buddy. He's getting old. I do my best for him, but I just can't get the parts you know. Hey. I know the feeling. CLARA: Where did you get these? DOCTOR: I have a supplier. People like the pink ones the best. HANDLES: I have given it a thought. DOCTOR: Hey, don't you worry, Handles. You're just dreaming. The sun is coming up very soon. You just hang in there. HANDLES: I have developed a fault. I have developed a fault. DOCTOR: Hey, Handles. C'mon. C'mon. One more dawn. You can do it. You got it in you. Just hang in there. HANDLES: Attention emergency. DOCTOR: Handles. What is it? What's wrong? HANDLES: Urgent. Action required. You must patch the telephone device through the console unit. DOCTOR: Handles. Come back. Handles. Handles. Thank you, Handles. Well done. Well done, mate.
First credit must be given to Steven Moffat for writing such a beautiful scene even if it is reminiscent of Tom Hanks and Wilson or Hamlet and Yorick. Second, credit must be given to Kayvan Novak who voices Handles. The biggest applause must go to Matt Smith for his performance with a metallic head.
We meet the Doctor sitting on a stool on top of the tower with a handkerchief in hand. He leans slightly towards Handles and begins cleaning him. Then he licks his handkerchief and resumes scrubbing. His voice is hoarse and old, but there is still an attempt at humour and small chuckle when he mentions being needed to stick around. He continues his care for Handles while talking to Clara and even adjusts his head as he adjusts his friend's head upon the pillow. He smiles as he looks down at his old friend. His eyes seem ancient and tired, but there is still love there. He smiles and the cracks on his face also show his age and weariness along with the tenderness that is there. He taps Handles head with his finger and then gives Clara a look with his eyes cast down when he says he's getting old. The smile tells us that he's aware there's a joke in there about him too.
His voice softens to a whisper as he talks about getting the parts as he grabs his cane. We can see and hear the amount of exertion it takes just to get out of that chair and reach for some marshmallows. His hand against the wall to steady him and the slight push it takes to put him back into his chair. It's the way he talks with his food and what he does with the marshmallow too.
It's the look in his eye and how he squints when reaching down to Handles. It's the look of concern when Handles mentions there is a fault. It's the way his eyes search Handle's face for a solution and the slight shake of Handles head. It's the way his right hand lets go for an instant and gives a light slap on the face hoping that might make it better. His mouth parts and he lifts his head with his eyes gazing outwards. The recognition and processing of Handles last words. The words that remind us from earlier in the episode and Clara's telephone call about cooking turkeys and fake boyfriends. He begins to close his mouth, looks down and gives Handles head a shake. Come back. We can see the sadness written all over his face and body as he loses yet another friend. He shakes some more. This isn't the guttural scream we saw with Amy and Clara. The subtleness of it makes it that more sad at this moment.
He shakes his head, closes his eyes and then brings Handles head up to his own. This is it. When he lowers his arms and we see his face again, we see him biting his lip trying to keep the tears inside. He gives his last words to the friend who has kept him company for over 300 years. His eyes, lips, and body tell us everything we need to know as he lays Handles head to rest.
During my training as an actor, I was always told it was the great ones that could fill the silence and tell us so much with a gesture or expression. I think this is true with Matt. I think so much of what he does seems so natural that those who are not paying attention don't catch it. It is this beautiful marriage between truly human and alien moments that makes his Doctor so endearing.
The second scene starts at 33: 20 and has the Doctor and Clara standing on top of the tower gazing out at the sun. The actual speech below starts at 33:42
DOCTOR: Ha! Everyone gets stuck somewhere eventually. Clara, everything ends. CLARA: Except you. DOCTOR: Have you been paying attention? I am an old man now. CLARA: But you don't die. You change. You pop up again with a new face. DOCTOR: No. Not forever. I can change 12 times. 13 versions of me. 13 silly doctors. CLARA: Ok. So you're number eleven. So- DOCTOR: Ha. Are we forgetting Captain Grumpy? Ha. I didn't call myself a Doctor during the Time War, but it was still a regeneration. CLARA: So you're number twelve. DOCTOR: Or number Ten once generated and kept the same face. I had vanity issues at the time. 12 regenerations. Clara, I can't ever do it again. This is where I end up. This face. This version of me. We saw this planet in the future, remember? All those graves. One of them mine. CLARA: Change the future. DOCTOR: I can't. CLARA: You got your TARDIS back. DOCTOR: Think I'm just going to fly away and abandon everyone?
There was some grumbling over this scene as well. I never understood the difficulty in understanding the distinction between doctors and regenerations. I'm not sure I could explain it any better than Moffat did in this scene. I will continue with the explanation over Matt's acting.
The sun hits his face as his eyes look side to side and we can see the thoughts stirring in his mind when he says everything ends. He hears the hope in her voice and looks up at her. His voice is still hoarse, but he tries to be gentle when he tells her the obvious. He is old. His eye brows draw in and looks at her with a twinkle in his eye, before looking away and bringing his head back and chin towards his neck. His body moves slightly as he adjusts his weight and steadies himself. He blinks and closes his eyes when she mentions popping up with a new face. As the conversation continues, he alters between looking away and thinking of times past and futures about to begin while also taking time to gently clarify things for Clara but also reassure her at the same time.
We see a bit of the fear and concern in his face when he talks about his last face and where he ends up. The way he gives a small smile when he says this face like he's trying to keep his spirits up. The expression afterwards says it all. It's almost like the sun setting upon the world is not lost on the Doctor as he talks about his last symbolic sunset . We see how he really feels when he rolls his eyes and looks down when talking about his grave.
If you continue the scene, you will see him close his eyes and shake his head as he talks about protection. You'll see him shrug his shoulders when asked about his life.
There is something much more nuanced about his performances and they offer so much insight into the Doctor. If you look carefully, you can sometimes see when he is lying to himself, to others or not at all. You can see when his words don't match his emotions or the masks he wears for others or when he is being truly vulnerable and open. There is also rage, anger, despair and other emotions as well but he plays them more with subtle power rather than bursts of raw emotion or exaggerations.
MATT'S REGENERATION
This is where most of the lashing out took place. After so many attempts at trying to create a better world, this is where the fandoms reared it's ugly head. There were homophobic remarks and slurs against Matt (despite being straight) by some fans while others just lashed out entirely at Steven Moffat or the creators in general. Intolerance has always irked me and I found most of my time consumed with defending Matt, Steven and the rest. The fans who got it understood right away and there was no need to be on the defence with them. They enjoyed the regeneration and applauded the episode for what it was - bloody fantastic. Endings are emotional and people are not always thinking their best when they're emotional.
At this point, the Doctor is in his last stages of life. He has given up on any kind of fight. Despite the Daleks whizzing around firing upon people, their fear seems to turn them into Stormtroopers as they can't seem to shoot the old man sitting or pacing on the tower. The Daleks are about to read the Doctor his rights when the universe opens and the Time Lords have given our Doctor regenerative energy. The Dalek main ship hasn't quite picked that up yet.
DALEK: The rules of regeneration are known. You have expended all your lives. DOCTOR: Sorry, what did you say? Did you mention the rules? Now listen, a bit of a bust. Tell me the truth if you think you know it. Lay down the law if you're feeling brave. But Daleks never ever tell me the rules.
DALEK: The doctor is regenerating. DOCTOR: Oh, look at this. Regeneration number thirteen. This time it's serious, boys. Ok. It's going to be a whopper. DALEK: Exterminate the Doctor. DOCTOR: You think you can stop me now, Daleks? If you want my life, come and get it. Love from Gallifrey, boys!
The reaction to this scene was quite polarizing. Some people relished the rock star moves before firing off regenerative energy and last words. Some people hated that regenerative energy was used as a weapon. Most people who complained were seeking some answer for more regenerations.
My theory is that the original screenwriters wrote an arbitrary number when writing the classic episodes when it came to regenerations. It was a popular show, but one made on limited budgets and not always the greatest support. The number of regenerations were never meant to be cannon law. The number had to be high enough for the show to continue working if they got renewed and yet low enough that it didn't seem trivial. If we found out he had infinite amount of regenerations or a high number of them, his 'death' as we see it wouldn't have the emotional impact. So you need a number that can create a balance between hope and catharsis.
The fact there are actual people out there squabbling about something written in as a way of retaining the show but also change actors seems strange to me. It's like squabbling about Star Trek transporters which were designed as an easy and cheap way of getting your cast off the ship and onto another location/set. It's a plot device based on low budgets and need for efficiency.
Moffat may have his budget, but I'm sure as a fan he doesn't want to create future squabbles over something so needless. So why put anything in at all? Why not leave it vague so that it can create an opening for future seasons and actors, but nothing too specific where it will write you in a corner in the future?
Luckily, the one point fans could all agree upon was Matt's last words. Everyone loved the last moments with our Doctor. I have seen this scene six times and it was only the sixth that I didn't weep. We are now in the TARDIS and Clara is about to go downstairs when we see boots come upstairs. She turns around.
CLARA: Doctor. DOCTOR: Hello. CLARA: You're young again. You're ok. You didn't even change your face. DOCTOR: Ha. It started. I can't stop it now. This is just the reset. A whole new regeneration cycle. (He spots the fish fingers and custard). Woo. (Lifts the bowl and drinks) Hmm. Taking a bit longer. Just breaking it in. It all just disappears, doesn't it? Everything you are gone in a moment like breath on a mirror. Any moment now he's a coming. CLARA: Who's coming? DOCTOR: The Doctor. CLARA: You. You are the Doctor. DOCTOR: Yup and I always will be. But times change and so must I. Amelia. CLARA: Who's Amelia? DOCTOR: The first face this face ever saw. We all change when you think about it. We're all different people. All through our lives. And that's ok. That's good. You got to keep moving as long as you remember all the people you use to be. I will not forget one line of this. Not one day. I swear. I will always remember when the doctor was me. AMY: Raggedy man, goodnight. CLARA: No! No! DOCTOR: Hey. CLARA: Please don't change.
This scene works on so many levels. It has the self references from The Eleventh Hour, Angels Take Manhattan, and Rings of Akhaten but also does a wonderful reversal where Amelia's imaginary friend becomes the imaginary friend for her Doctor. I thought Matt's last word was not only exactly what he was talking about earlier in his description about breath on a mirror, but also a nod to Name of the Doctor. River asks the Doctor to say goodbye to her like he will see her again and he does this with us when he gives a simple and consoling 'Hey'.
It's the following moment that seemed to cause some problems.
The significance of Matt taking off his bowtie and letting it drop on the ground is not lost on anyone, but most people who complained thought the regeneration was too quick and that overall the episode didn't do Matt justice or just happy that he was gone.
During my online battles, I explained that Matt's regeneration was probably the longest one we had ever seen and it was inversed. Whereas we normally get the quiet moment in the TARDIS first and then the big blow out, we had it in the opposite fashion and I think it works well for the pacing of the story. I also like how our last moments with Matt are tender and we can really savour them. As for the lack of faces merging together and lights exploding, I think it would defeat the point of what the doctor had just been telling us.
Moffat always said regenerations were not deaths, but moments when you are alive and conscious only to have a new face/voice/body/personality. He spoke about how mortifying and terrifying a process that must be if it were to happen to you. I think the quick flip backwards and now we have a new Doctor is a visualization of what the Doctor must be feeling at the moment.
I love how Peter stares at Jenna in the scene and the bit about the kidneys. I am really looking forward to joining his adventures once they begin in the autumn next year.
I haven't quite said goodbye to Matt just yet, but I should say goodbye to this opinion piece. It is getting rather long. I hope you enjoyed it.
I seem to crying once again. This time it is due to the behind the scenes footage of Time of the Doctor. It was already emotional to see the character transition, but to see Matt actually bury his head into Steven's chest as he tries to stop himself from crying is just heartbreaking. Steven's relationship with Matt really shows through in these last moments.
For those who missed the deleted scene from last night's episode, here it is too
Now that most audiences have seen Time of the Doctor, I feel I can write a bit more about my initial reaction to it. I shall post another opinion piece after I rewatched it.
The episode seems divisive with some applauding it for its greatness while others are complaining it didn't meet their expectations. There also seems to a polarizing effect on what you took away as being the main thrust of the episode.
For those who were hoping to receive a longer explanation for the renewal of regenerations, there seems to be a great disappointment. I concur the universe opening up so Gallifrey can give him regeneration energy seems a bit weak, but I think it has to be at this point. The writers have not completed Peter's scripts and there is no way of telling what future seasons or actors may want to do with the part. If they did give us a lengthy exposition on why Matt can regenerate, the reason would be scrutinized to death in the same way the throwaway line in Paul's tv movie has been lingering around in fan's minds for over sixteen years.
There also seems to be two regenerations in my mind. There is the one on the tower and the other in the TARDIS. Yes, it was a bit striking to see the Doctor use regenerative energy as a weapon to beat the Daleks. I also think the Time Lords wouldn't have it any other way. Since we still see Matt's hands lighting up and regenerating in the TARDIS and privy to one of the most poetic ways to say goodbye, I thought it was perhaps one of the best regenerations we have seen to date. I really liked David's too.
There also seems to be many who think the episode didn't do Matt justice. I braced myself for having my heart shredded like confetti and then tossed in the air as Moffat laughed manically. I'm delighted this wasn't the case. I wept, but it was cathartic and the right amount of emotion for those scenes. It didn't leave me emotionally scarred. I thought it was an interesting choice to make Matt/Steven's last words to us be consoling and reassuring along with a wonderful summary of Matt's tenure. I'm not sure what the fans would have liked in order to create justice for Matt.
I'm in love with the self references in the episode. I loved how the musical score changed at one point to The Rings of Akhaten and then resumed back to usual. I loved the fish fingers and custard in a bowl and then Matt talking about 'the face this first face ever saw' as this beautiful nod to The Eleventh Hour. I think we were all splendidly surprised to see Karen Gillian reprise her role as Amy. The slight change in parting words "Raggedy man, Goodnight" was wonderful as well.
I thought the light expositions worked well. The fact the Silence will hear your confessions and then later you both forget I think is a nice way of explaining their distinctive feature. The rip in the fabric of the universe behind door 11 from The God Complex also worked well and that the rip/voices calling out were asking the ancient question Doctor Who? as a way of identification so they can return once more was equally beautiful. I loved the sass the Doctor brings to the idea an assassin was engineered to kill him so he marries her and all the other things involved as well.
I loved Matt kissing Tash as a reminder of how much Matt likes kissing people and the dance he does with the children is a recollection of him in a tuxedo with children at Amy and Rory's wedding. The episode is dense with nods to Matt's tenure and that is why I can't understand why people thought it didn't do him justice. We got to see the highlights of his tenure within the episode.
It was hard for me to see Matt age, but I also thought it was a perfect way to handle things. If Moffat thought it might be too much of a stretch for us to go from Matt's youthful face to Peter's more seasoned one, what better way to make Matt look so utterly ancient that Peter actually looks young by comparison.
I also thought they handled the wigs well in the episode too. Rather than have potential people complain the wigs are a distraction, just address them right away and even show us a bald Matt just to get the whole thing out of the way.
Some people didn't know how to respond to Matt's nakedness. I thought the Granny's reaction was spot on. I love Clara's flimsy excuse about her boyfriend being Swedish. I thought the nudity added a bit of levity to the whole affair and it was something we needed if we were going to journey through all the best monsters and bits of Matt's time on the show.
I was equally surprised how fond I grew of Handles and I began to cry as he was dying. It had the sort of Wilson affect from Cast Away. I thought it rather touching Handles last words were to fulfill the request about the phone we saw earlier in the episode.
Breathe. Breathe. Tears cascading down my cheek as I try wiping them with the palm of my hand. I can scarcely see for all the tears. I feel like I should write two posts regarding Time of the Doctor. One with my initial reaction but with as little spoilers as possible and then a second when I have had a chance to watch it again and it is safe to assume most have seen it.
I can say Moffat's swansong is reminiscent of Shakespeare's Tempest. The self references are all in line and the emotional turmoil is intact. Matt's last words are a perfect summary of his time with us as our his last interactions with people.
Speaking about this without revealing the last images is proving more difficult than I expected as they linger so brightly in your mind. I shall try my best to go on. I genuinely beg for those that have seen it to contact me so that we can speak about it. The child in me is about to burst and explode with delight, sadness and wonder whilst bouncing off the walls.
Fans will appreciate the light expositions of lingering thoughts throughout Matt's tenure. I appreciated the explanation for The Silence and the riddles we hear throughout. I thought it was a nice nod to see what was behind door 11 from The God Complex and why that rip in the universe is so significant. We also got to see the battle on Trenzalore before there were fields of graves.
I will walk away from this episode satisfied with the farewell given to the most gifted actor of all the doctors. Moffat's writing embodies all of Matt's gifts and we get a second chance to see why we adore him so much. There are only a couple of questions that remain in terms of regeneration and why Matt was dangling on harness on his last day.
There is a fear now that if I write more I shall reveal what I had seen. I shall end it here and implore people to write to me so that we can discuss it further.
I just watched The Day of the Doctor bluray and saw the Comic Con trailer. I have to tip my hat off to the thousands of Whovians who had to keep that secret for months.
I am reminded once again of what we are about to lose, but feel spirited about what is yet to come. Although we don't have the comfort of knowing when we will see Matt next other than a vague release date for How To Catch a Monster, there is no doubt in mind we shall see him again.
It is not simply his natural leadership on set and the way he can recall all the names of those who work with him and the names of their children. It isn't the remarkable way he interacts with kids and takes time to wave and hug everyone around him even when he may not feel at the top of his game. It isn't how extremely sexy he can be when he smiles. I always refer to him as a gifted actor, but it goes beyond his ability to portray our inner most desires, fears, rage, pain, delight and curiosity.
He's a remarkable human being. One that many will try to emulate, but will never quite succeed. Since my illness still makes it hard for me to write, I will simply let others take my place.
Now if I were to choose my top 10 favourite Matt Smith episodes, they would have to be
11. The Doctor's Wife
I love how the scene begins with the Doctor puzzling out how exactly he will execute his win over the entity that has taken control of his TARDIS. Matt's eyes reveal so much about the inner workings of the Doctor. It's wonderful to see his speech take a sharp turn and we can hear the menace behind his words as he threatens and reveals the truth on what is about to happen next. There's a moment of delightful exhilaration followed up by a darker order to finish him off. The most heartbreaking moment comes with his final words to the TARDIS. Our eyes well and lips tremble with the Doctor as this great old man crumble and all the rage dissipates leaving him hollow. It's the waves of emotion in this scene that makes it so memorable and perhaps why RadioTimes readers chose it as their favourite episode.
10. The Lodger
My ultimate favourite line in the episode is
There are many delightful moments in this comedic episode with James Corden and lest we forget Matt in a towel or watching him play football. I think the greatest moment is when Craig tries to outline some house rules and requests each flatmate to tell the other when company is coming over so they can offer some privacy. The Doctor's lack of understanding highlights he is an alien. He may be old, half human and a time traveler, but he is alien. Matt's performance reminds us all of who and what we really are watching.
9. A Christmas Carol
There are so many rich details in this episode from Michael Gambon's terrific performance to Katherine Jenkins/ Abigail's haunting song. Although the love story between Kazran and Abigail is probably one of the most memorable innovations on Dickens' tale, I think it is how easily Matt weaves through his interactions with children, elderly, and imaginary actors. He is not only generous in the way he allows each performer to have their moment, but he also makes you believe in the fairy tale.
8. The Name of the Doctor
You could argue the prequel could actually be speaking about Time of the Doctor more so than The Name of the Doctor
It is this moment that most remember
If we're all a little honest, we all want someone to kiss us like that. For some of us, we specifically would like the Doctor/Matt to kiss us like that. I like the nod in the beginning to Nine's farewell to Rose. I'm always impressed when Eleven grabs River's arm despite not facing her at the moment.
I think everyone's favourite line is "Since no one can actually see you, God knows how that looked". The reactions on the face of the Doctor's friends is priceless.
The reason this particular scene stands out amongst the rest is it is the first time in Matt's tenure we actually see him play a lead romantic role. The Doctor's companions and River have come onto the Doctor and he has flirted back once in a while, but we never see him profess his feelings or initiate a kiss. Although the chemistry (or perhaps 19 year age gap) seemed to be on and off, this moment seemed genuine.
7. A Town Called Mercy
It's rare for us to see The Doctor handle a gun. This is one of these moments where we are not entirely sure whether he will break his no gun rule. It is the confrontation between Amelia and The Doctor that is so riveting. There is one moment when we can see the utter rage and regret in the Doctor's face and then almost immediately we see it all dissipate. Although it is Matt's delivery of lines that I tend to gravitate towards in that scene, I also find the reaction shot astounding.
6. The Girl Who Waited
The main thrust of the episode examines what would happen if we had to contemplate ending our existence so another version of ourselves could live on. Nothing can be more heart wrenching than seeing Rory have to choose between his two wives and the Doctor closing the door on Amy sentencing her to death. I think it is this scene at the end that we remember so fondly. Matt's whispery hoarse voice sounds so ancient as he talks to young Amelia.
The way he looks at her as he says "You won't remember me. Well, you'll remember me a little. I'll be a story in your head" is both uplifting and heartbreaking at the same time. You can see the age and wear of an old man as he tilts his head back and closes his eyes while talking about his magical box. It guts you to hear him say "I don't belong here anymore. I think I'll skip the rewind. I hate repeats."
5. The Angels Take Manhattan
You will have to go to 4:08 to see which scene I am referring to (although I like all five of this viewer's choices). We rarely see a time when the Doctor is at a loss for words or gestures so it's hard to watch him unravel. The first time we hear Matt say "No" is so emotional. His voice cracks as he struggles to talk with Amelia and request help from River who is encouraging her mother to take her life. We see his arms outstretched as the Doctor tries to take command of the situation. "Stop it. Just stop it." We almost believe Amy will listen to hero once again as she has in the past. We see the Doctor try reasoning and then actually pleading and begging with Amy to change her mind. That moment of shock and then recognition of what has just transpired can bring anyone to their knees. Matt kills us with that guttural scream at the end.
4. The Rings of Akhaten
I actually voted for this episode as my favourite in the RadioTimes survey for best Matt Smith episode. I have seen this episode more times than any other one in Matt's tenure predominantly because I love this speech so much. The images in the video do not correlate with the ones in my mind when I listen to the words, but it's impossible to find a clip strictly of Matt delivering his speech. It may surprise you that I would list it as number four the night before Time of the Doctor. I thought hard about which episodes to choose and how they should be ranked. Despite this being Matt's best speech, there are three episodes I liked a bit more overall.
3. Vincent and The Doctor
You are going to have forgive me on this one a bit.
Tears are streaming down my face as I watch this scene again. The truth of the matter is the writing and ensemble in this episode is beyond fantastic. Tony Curran gives us a riveting portrayal of Vincent Van Gogh. Bill Nighy offers us an emotional summary of Vincent's life and legacy. Karen and Matt nail it as Van Gogh's companions.
Whenever people would ask me to recommend an episode of Doctor Who, Vincent always comes to mind. I was already a Van Gogh fan prior to watching this episode and have seen his paintings in galleries and museums around the world. I even have a book of all of his letters and I thought this episode had to be the greatest tribute I have ever seen to such a remarkable painter and human being.
2. The Eleventh Hour
Honestly, if it were up to me I would just include the entire episode. The only problem is that's a bit excessive. There are so many reasons why I love this episode. The self references in the episode are amazing like when the Doctor snaps his fingers to open the door and lure Amy into his TARDIS. We can't help but remember David doing it for the first time. The wedding dress hanging on Amy's wardrobe reminds us of Donna's stint as The Runaway Bride.
Then there is the actual writing and performance in the episode. The beautiful blend of comedy, action, and drama. There's a reason why Matt and Steven cite this episode as one of their all time favourites. It's astounding.
If I were to pick one pivotal moment in the episode, I would direct you to 8:26. It's not only the way Matt reaffirms his identity as the Doctor and reiterates the magnitude of the problem, it's the way his eyes search Karen's. Everything from the gaze between Matt, Karen and the apple to "Amy for twenty minutes" is perfection. The pivotal line for me is "Twenty minutes. Just believe me for twenty minutes."
I was so close to dismissing the entire franchise, because I thought the show was utterly ridiculous and I couldn't find a protagonist that I enjoyed enough that would make me forget everything I hated about the series. It wasn't until I saw Matt dangling out of the TARDIS above London that I thought the franchise deserved a chance. It wasn't until he said the pivotal line that I knew he would be my Doctor.
I use to cite Vincent as the episode that made me a Whovian. It was the time when I decided I would commit myself entirely to this franchise and that I would probably go back and watch everything I missed just so I could come back to Vincent and watch it with a new eye. If I were to be honest with myself, I could have never gotten to Vincent if it wasn't for that belief in Matt being the Doctor in the first place. I would have never truly believed him if he didn't utter those words about twenty minutes.
My entire life has changed because of that line. I have not only gone back to watch everything in the reboot, but I have also watched classic episodes as well. I've written posts about how Doctor Who can help those with depression and mental illnesses and I've discussed the merits of Doctor Who for daily living. My own life has been altered by this show and it has only brought me joy and peace.
1. The Day of the Doctor
Please be mindful there are SPOILERS in this clip
Although I don't think of this episode as a "Matt Smith episode" because I think David and Matt are equal leading men with John Hurt as the supporting actor, it is my favourite one featuring Matt. We waited in agony for this episode to come out and there were so many fiascos prior to its release. It could easily have not lived up to all the hype surrounding it, but it seemed to exceed everyone's expectations. It was and still is an example of how Matt Smith and Steven Moffat are masterful geniuses.
Some critics claim Matt is the most gifted actor to ever don the Doctor's clothes and I believe this episode illustrates they are right. You can see him standing next to two of the most beloved Doctors of all time, David and Tom, and they seem like hacks. They simply can't hold a candle to what Matt offers as an actor. You don't even need to like him as a Doctor to see that the nuances he brings to the role are superior. David and Tom have a tendency to rely on exaggeration (and as David admits pulling faces) to convey a certain emotion or idea. This isn't the case with Matt. He's much more subtle and therefore natural with his choices.
I credit Moffat with the brilliant writing in this one and giving us the Skyfall version of Doctor Who. If Skyfall was a love letter for the last fifty years of Bond then Day of the Doctor is the love letter to Doctor Who.
There are so many moments I wanted to include from The Pandorica Opens/The Big Bang, Impossible Astronaut/Day of the Moon, The God Complex, Asylum of the Daleks, Power of Three, The Snowmen, The Bells of Saint John, Nightmare in Silver and so many more. I'd love to hear what your top eleven moments are or what you have changed about the list.
