In addition to showing the usual "Previously..." clips from "The Pandorica Opens," the pre-title sequence for this episode opens identically to the post-title sequence scenes in "The Eleventh Hour," only this time no TARDIS crashes in Amelia Pond's backyard, and stars have become something of a fairy tale, considering that they disappeared along with the rest of creation in Roman times. Amelia is lead to the local museum, where the Pandorica is on display - having been preserved throughout history. The Pandorica opens (again), but reveals the occupant to be Amy Pond, which is of course the aged-to-early-twenties Amelia Pond. I remember being so utterly confused at that moment, and wondered if Moffat could explain such a twist logically, if it could be explained at all.
After the title sequence, the episode picks up where we left off, with Rory mourning the death of Amy. The Doctor appears in a flash, donning a Fez and a mop, and instructs Rory to open the Pandorica (which at the time had just been sealed with The Doctor inside) using his sonic screwdriver. Rory follows his instructions, and Amy is then placed in the Pandorica to be preserved in stasis until her younger self (Amelia) makes contact with the Pandorica in 1996. You follow? It's always been my intent with my reviews to avoid explaining the plot and synopsis of a particular episode, but when dealing with some of the stories Moffat dreams up, it's almost necessary to explain his paradoxes in lament terms just so my readers can understand what I'm commenting on. The first few minutes explains how Amy ends up in the Pandorica, as well as explains how The Doctor is able to escape captivity to even materialize in front of Rory in a Fez.
From this point, the episode shifts from the Stonehenge location to the interior of the museum in 2010, where most of the story is resolved. There were some absolutely terrific Doctor moments in this episode, that I felt truly represented the mentality of the classic Doctors. One such occasion was when a near-death future Doctor appears, and moments before dying whispers something to his "younger" self. What was so reminiscent was how carefully The Doctor listened to himself, knowing that anything he had to tell himself is always important. This is further alluded to at the beginning of Series 6/Season 32, where it's indicated that The Doctor trust no one more in the universe than himself. The rooftop scenes were done well, also.
Another similar instance is when it's revealed that The Doctor's words with Amy in the forest aboard the Byzantium is actually from a future version, explaining why the "Flesh And Stone" Doctor was without his tweed jacket, but when he holds Amy's hands, he's wearing it again. The Doctor assures Amy that he isn't sure what the cracks are in her wall, but that he's "working it out," referring to himself in third person, having seen his past self several feet away analyzing sonic screwdriver readings.
As I mentioned in the last review, it was nice for once not to have an alien invasion as the blockbuster season finale plot line. Something I wanted to be sure and note was the fact that The Doctor took matters into his own hands on several occasions, and effectively took it upon himself to restore the universe to it's previous form. I say this mainly in contrast to Russell T. Davies' first two part finale, "Bad Wolf" and "The Parting Of The Ways," where the companion saved the day.
Moffat took care to not overlook any obvious plot holes, and even chose to incorporate some of the questions viewers might be asking into the episode. The Doctor verbally ponders how a petrified Dalek could be restored - or even exist at all for that matter - considering the Daleks' home planet, Skaro, would have been wiped out along with the rest of the universe; therefore preventing their creation altogether.
The resolution of the story seemed to be wrapped up rather quickly - within the first half of the episode. It wasn't because it was rushed - on the contrary, the pacing of this episode seem to relatively match that of the previous, and it didn't feel like key plot points were having to be crammed into 30 minutes. The story was wrapped up evidently in order to reserve the last half of the episode to closing open threads regarding Amy and Rory's personal life. The couple are married, and in what is perhaps the least explicable thing Moffat has ever wrote, an otherwise erased from history Doctor is restored to present time by the almighty powers of Amy's memory. Once again, we're on this mental thing. It was clear this was a recurring theme throughout the season - that of major events changing according to a character's willpower. I let the resurrection of Rory slide because it was reasonably explained - whomever looted Amy's home for tidbits to build a scenario on included a picture of Amy and Rory in centurion dress. This doesn't however excuse the fact that Rory was nothing more than an Auton, and yet again by sheer power of will, he's turned into a human - that still retains Auton characteristics, such as immortality (maybe this means he won't die anymore?) and a still fully functional flip-down hand gun. I don't mean a sidearm, either. I mean an actual HAND gun. But the business of The Doctor being restored simply because Amy remembered him - how does that work? It was never explained how Amy's thoughts alone could resurrect someone who was otherwise non-existent.
The soundtrack was a bit better this time, being much more subtle during the museum scenes, but it later seemed to escalate into full orchestrated mix again for The Doctor's reappearance.
After the reception, The Doctor scurries off back to his TARDIS, exchanging a few final words with River Song, and moments later is joined by newly weds Amy and Rory.
On that note, the season closes. The change in production staff was showing considerable promise, as fans of the original series had been treated a full course meal with Series 5/Season 31. The show still had a long way to go, but seemed to be slipping back into the imaginative science fiction it was during it's first 26 seasons.