Doctor Who - "The Pandorica Opens"

WHOSCALE: 7 out of 10

Steven Moffat was next in line to write the season's two part finale. This was perhaps one of the most anticipated episodes of the season, as a lot of viewers were expecting to get some answers to many questions that had arisen throughout the season.

We all knew that Moffat was capable of writing some clever plot twists, but I have to say he outdid himself with Series 5/Season 31. If you're one of the casual fan girls that watches only because "Tennant was hot," then this definitely wasn't your favorite. I'm a seasoned sci-fi fan, and it took me at least two viewings to figure out what all was coming together in this episode.

However, to be fair to my readers, I'm going to set aside the fact that the plot was top notch, and conduct this review as a comparative to the original series.

One of the first things that kind of put me off was the length of the pre-title sequence, which essentially took eight to nine minutes setting up the backdrop for the episode. It's not a real biggie for me, but as I've said many times, I'm not a big fan of a "Star Trek/X-Files/Babylon 5" style pre-title sequence. I know almost every modern day television show uses the format, but the three I named are the ones I most associate it with.

This may have been intentional considering the episode dealt with digging up old hidden artifacts, but the music score for this episode seemed to have the ring of Indiana Jones, particularly during the scene where The Doctor, Amy, and Song enter the Pandorica chamber.
Speaking of Dr. Jones, there was another scene during the pre-title sequence that was almost plucked word-for-word from "Indiana Jones and The Temple Of Doom," where River Song slips some micro-explosives (in place of poison) into Dorium's drink, forcing him to sell the Vortex Manipulator in exchange for a diffuser (instead of the antidote).

While I'm on the subject of music, the episode seemed to be well over-scored. Apart from a couple of dialogue scenes between characters in the underhenge, everything else was coated with a John Williams-ish orchestral score.

Moffat seemed to continue the running theme of recurring characters, a theme that was common during the Davies era. Virtually all of the major characters from the season have a role in this episode - Liz 10 from "The Beast Below," Bracewell and Churchhill from "Victory Of The Daleks," River Song from "The Time Of Angels" and "Flesh And Stone," and Vincent Van Gogh from "Vincent And The Doctor." Although each character seemed to have a relevant role, I think it could have been communicated without having to touch on every past encounter by The Doctor. If one had to be pointless, it was Liz 10, who was doing nothing else other than guarding the Royal Collection in the 52nd Century, which actually doesn't make a whole lot of sense, considering she's the Queen, and should be tending to her space-bound kingdom of citizens, Smilers and Winders.

Rory is resurrected (again) in this episode - this time as an Auton, although once again no character addresses them as "Autons," only as "duplicates."

I think Moffat handled another chapter of River Song's story well again, electing to not have the episode focus on River, but rather have her tag along as another companion to The Doctor. River's universal and temporal experience is only matched by The Doctor's, so it's kind of like getting a Romana on occasion.

Perhaps the most notable part of this episode is the climax, in which a season's worth of wondering what's inside the Pandorica is revealed. I don't think many viewers saw that one coming, because it certainly hit me broadside.

The episode closes on a cliffhanger, in traditional multi-episode Doctor Who form, with The Doctor trapped in the Pandorica, Amy shot dead by the Auton Rory, River trapped in the exploding TARDIS which would seem to be the cause of the mysterious cracks, and more seriously, the erasure of the entire universe, save for Earth itself. (Go figure.) Probably what got Moffat the biggest score with this one was the fact that for once, we weren't in downtown London or Cardiff fighting off a Dalek invasion for the season finale.

Doctor Who - "The Beast Below"

WHOSCALE: 8 out of 10

After seeing this episode and seeing the final scene leading into the next, it was apparent that one of the things Moffat was NOT changing this season was the format of the opening three episodes. Since the revival in 2005, the opener has been based on modern Earth, with the next two episodes being set in the future and in the past, in alternating order. The Tenth Doctor's opening season was the only exception, with "New Earth" being set in the distant future. However, that season marked the first Christmas special - "The Christmas Invasion" - which was set on modern day Earth.

The out right adversity between Davies' production style and Moffat's production style is once again very evident in this episode. The pacing of the story doesn't ever feel rushed, nor does it seem to just bog down. The story unfolds fluently, and in true Doctor Who style, devotes much of the first half to presenting elements of the story that spike our curiosity, and make us lean in a bit closer to our televisions, ensuring that we don't miss a beat. Moffat has always done well with establishing in depth, concise, plot-hole free mysteries in his Doctor Who episodes. "The Beast Below" is no exception.

The incidental music was much more subtle and more sparingly used in this episode, but I've always thought that Moffat intentionally used more in "The Eleventh Hour" to help transition less-informed viewers through the end of the Davies era into the Moffat era.

Before I get my readers to thinking I'm just kissing up to Moffat, let me point out a few things that contributed to minuses on this episode's Whoscale.

Probably the most bothersome scene was the semi-heart wrenching reflection scene at the end between The Doctor and Amy. The following scene is the two of them scampering off back to the TARDIS, so I felt that Hinchcliffe or JNT would just have omitted that short scene altogether, since it roughly just recapped what most of us had figured out five minutes earlier.

Another point of dislike for me was the fact that The Doctor's role as unsung hero takes a back seat at the climax, and once again it's up to his companion to step in and save the day. The possibility that the Star Whale willingly arrived to save the human race doesn't strike me as one The Doctor would overlook.

Speaking of companions, Moffat did well writing the part of Amy though. Her character shows many qualities in this episode that reflects qualities that original series companions possessed: bravery, initiative, compassion, intelligence, stability under pressure, and for once the companion isn't spelling out every scene so the fan girls will get what's going on. The Doctor's portrayed smart. Amy's portrayed smart, just not Time Lord smart.

That brings me to another plus in this episode - the dialogue. Moffat wrote some terrific one liners that tremendously reflected the quirky persona of the first eight Doctors.

One final plus was the Smilers and the Winders. Definitely the stuff of nightmares for the kids watching, and Moffat choosing to introduce such fantastically creepy villains in his second story proved that there wasn't going to be a "safety blanket" in any of his episodes like Davies had often done with the series to liven things up and to turn the scare factor down a few notches. It was looking like we were going to have the likes of "Blink" for a whole season.

Best classic style scene had to be the meeting between Liz 10 and The Doctor in the corridor. A terrific episode, and definitely spoke a lot about what we could expect from Moffat's vision of Doctor Who in the near future.