Happier Concessions

Okay, I'm done ranting about Moffat's Who!  I want to talk about what I do like.

I like the story behind Amy's initiation as the Doctor's companion.  True, the idea of a little girl growing up with the Doctor for an imaginary friend is an idea reused from Moffat's The Girl in the Fireplace, but I don't mind, it's still endearing.

I like—no, love—The Doctor's Wife.  (I was surprised, initially, to find out it was written by Neil Gaiman, and then couldn't believe I hadn't seen that coming:  It's got Gaiman's fingerprints all over it—dark, disturbing, yet moving fingerprints . . .)  I love the chemistry between the TARDIS-infused Idris and the Doctor and the delightful, quirky little profound statements she makes:  "Are all people like this?  So much . . . bigger on the inside?". . . "Borrowing implies the eventual intention to return the thing that was taken.  What makes you think I would ever give you back?"

I like the Silence.  They seem to be grown out of the same theme as the Angels in that they too have a "perception filter".  (I call bonus points for two Who references in one go.)  You can only see the Angels while they're inconspicuously inert, and you never remember seeing the Silence regardless of how conspicuous they are.

I like Let's Kill Hitler, even if I don't understand how or why Melody wound up back in time growing up with Amy.  Though I'm still unconvinced that the Doctor and River have marital chemistry, I love the fact that her devotion to him stems from watching him trying to save her life even after she's sentenced him to death.

I like Asylum of the Daleks.  It's intricate, compelling, scary, resolves some unspoken issues between the Ponds that I was glad to see come to light (such as Rory's statement that it's always been obvious he loves Amy more than she him) introduces a fun new character and contains a crazy awesome plot twist.

I like seeing Rupert Graves as John Riddell.  Mostly because he represents a Sherlock crossover, but also becomes he's awesome on the show.  As on Sherlock.  He's just awesome overall.

I like The Angels Take Manhattan.  The Weeping Angels are inherently cool, and I'm glad that in this episode, as opposed to Flesh and Stone, we go back to never seeing them actually move.  The story is complex without leaving any loose ends (except, perhaps, how the Angels "get into" other statues, set up a whole building in the middle of New York City without anyone noticing, or feed their aging victims, but whatever) and it's morally and emotionally engaging as well.  It's funny, how for so many episodes I kept anticipating a change of companions, and then when the Ponds finally leave, the episode sort of makes me wish I'd seen more of them.

I like Jenna-Louise Coleman.  Some people have complained that she's too pretty; I'm guessing this is gender politics again.  I know some women are cast over others because they're more attractive, but that doesn't make beauty a cheat in and of itself.  My favorite actress happens to be Catherine Tate (lovely, sure, just not an obvious hollywood beauty) but before I knew about her I might've picked, say, Natalie Portman.  Drop-dead gorgeous, but also very talented.  So yes, Coleman is adorable, but that's not a crime in and of itself and I think she's got great chemistry with Matt Smith.

I like the mythos Moffat builds around the Doctor's real name—something he's been cooking as early as the second series, when Rinette reads 10's mind and says, "Doctor—Doctor Who?  It's more than just a secret, isn't it?"  I doubt the secret can live up to its wind-up, so a large part of me hopes there will never be a complete reveal, but I enjoy how it's played out so far.  Especially the bit about the Question that must not be answered, the Question hiding in plain sight—Doctor Who?  Ahhh, ironic fourth-wall riddles.  I love it.

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So, there's my list.  I doubt if Moffat ever reads my earlier post I stand any chance of getting into his good graces—which is a real shame, because he's still my hero and a genius writer—but still!  I'd like to even things out if only for fairness' sake.