Doctor Who Series 5 The Time Of Angels / Flesh & Stone Review

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11th Doctor, Adam Smith, Alex Kingston, Amy Pond, Doctor Who, Doctor Who Series 5, Flesh and Stone, Karen Gillan, River Song, Steven Moffat, TARDIS, The Time of Angels, Weeping Angels

The Time of Angels & Flesh and Stone

Review by Paul Bowler

The Doctor (Matt Smith and Amy (Karen Gillan) visit the Delirium Archive, a museum in the distant future, where they find a rather odd exhibit – a flight recorder inscribed with old high Gallifreyan symbols. After discovering it is actually a message from Dr River Song (Alex Kingston), who is currently travelling on the spaceship Byzantium 12,000 years in the past, the Doctor uses the TARDIS to save her before the ship crash lands on the planet Alfava Metraxis.

Right from the spectacular opening scenes, where River sends the Doctor a message back through time “hello sweetie” before opening the air lock on the Byzantium, sending her hurtling through space and into the TARDIS, it’s clear that this is going to be very special adventure. The Time of Angels and Flesh and Stone (2010) are the fourth and fifth episodes from Matt Smith’s first season as the 11^th Doctor, written by show runner Steven Moffat, and directed by Adam Smith. These episodes from Series Five also feature the return of Steven Moffat’s most frightening creations, the Weeping Angels, from his Series Three story Blink (2007). Here they return in force in an action packed storyline that makes them seem even more terrifying than before.

While Amy gets acquainted with River Song, and her uncanny relationship with the Doctor, who still doesn’t know who she really is at this point because they both keep meeting at different points in his time stream, River tells the Doctor that the Byzantium’s cargo is a deadly Weeping Angel – a quantum locked stone creature that can only move when nobody is looking at it. As they survey the wreckage of the ship, River sends a message to a squad of military clerics in orbit, commanded by Father Octavian (Ian Glen), who beam down to help secure the Angel before the radiation leaking from the ship restores its full strength.

As the Doctor and River check out a book written by a madman about the Weeping Angels, which states: “That which holds the image of an Angel, becomes itself an Angel,” Amy suddenly gets trapped inside the trailer in the cleric’s base camp where security footage taken of the Angel inside the Byzantium is still running on a continuous loop. They rush to help her but find the door is locked. The Doctor warns Amy not to look into the eyes of the Angel, because they are the doorway of the soul that will allow the Angel to enter there. Amy manages to deactivate the video loop and switch off the screen, just as the Weeping Angel begins to emerge from the screen into the room. Together they set off with Octavian’s troops to reach the Byzantium, but in order to get there they must first find a path through “The Maze of the Dead”, a dark and foreboding labyrinth full of eerie looking humanoid statues built by an ancient race, where Amy begins to feel something in the corner of her eye…

Alex Kingston makes a very welcome return as River Song in this story, bursting back into the Doctor’s life once more, River’s still always inexplicably able to keep one step ahead of the Time Lord, though tragically – as we would later discover in Series Six – she’s also always moving one step further way from him as well. The complex nature of their relationship is a joy to behold. They behave like an old married couple at times, teasing and trying to get the better of each other, which in hindsight all seems rather apt now. With her trademark “spoilers” and TARDIS diary, River is a brilliant character, and here we get to enjoy what I feel is perhaps Kingston’s best performance in the role. Free of the continuity of things to come, River Song is a vibrant and unpredictable character. Later that sheen would diminish a little, but here she is both gloriously mischievous and mysterious in equal measure. I also like how River gets to fly the TARDIS and quickly forms a strong bond with Amy; and the two of them delight in winding the Doctor up – although he still manages to win over River’s uses of the blue “boring” switches by simply taking in the atmosphere outside the TARDIS to identify the planet they’ve landed on.

The long journey through The Maze of the Dead takes a sinister turn when some of Father Octavian’s forces begin to go missing. As the Doctor and River talk about the ancient two headed race that built the statues, they suddenly notice how all the statues only have one head and must really be Weeping Angels! The slow, gnarled creatures begin to take shape, stalking them through the shadows, communicating with them by using the voice of the Cleric Bob (David Atkins), who they have slain. The Doctor has to help Amy after she believes her hand has been turned to stone, preventing her from moving, she is being influenced because she looked into the eyes of the Angel on the screen in the camp, so the Doctor bites her hand to convince her otherwise.

Having been forced to the highest point in the maze by the misshapen Angels, they find themselves directly below the crashed ship. The Doctor shoots the gravity globe which allows them all to jump up into the Byzantium and escape the Weeping Angels momentarily, but the Angels quickly follow as they flee to the ships oxygen factory – a forest within the ship itself. After noticing a familiar crack in the wall of the secondary control room, the same one from young Amy’s bedroom in The Eleventh Hour (2010), the Doctor suspects the Angels are trying to feed on the time energy.

Matt Smith is already settling into the role of the Doctor, bringing lots of his distinctive characteristics to the fore, which will become a mainstay for his incarnation of the Time Lord during his tenure. There is a lot of humour as well, particularly when he makes the TARDIS landing noise after River “parks” the ship. He also has to save Amy from the Angels, his fear for her is almost palpable when she is walking blindly through the forest, and his rage when trapped before he uses the gun to save them during the cliff-hanger of The Time of Angels is quietly restrained, and almost menacing in the intensity of Matt Smith’s delivery of his lines (Despite an animated banner trailing the BBC’s Over the Rainbow programme notoriously appearing on screen too early and spoiling this dramatic moment during the original UK transmission of the episode). I think this is what made Matt Smith’s 11^th Doctor so good, right from the start his performance is more measured, and the way his Doctor often speaks very quietly to make his point is a marked change from his predecessors.

When it becomes clear Amy has begun counting backwards, the Doctor quickly stops her, instructing Amy to keep her eyes closed to starve the Angel that’s gotten inside her brain and prevent it from killing her. With Amy unable to move, the Doctor, River and Octavian go to find the main control room, the Doctor learns that River is actually a prisoner who has been released into Octavian’s custody, offering her help in return for a pardon. Octavian is later killed by the Weeping Angels. Meanwhile the crack in time continues to grow, swallowing up the Clerics guarding Amy in the forest. Now terrified and alone, Amy must then carefully follow the Doctor’s instructions to reach the control room. But as Amy blindly makes her way past the Weeping Angels she stumbles and falls, revealing her blindness, and they begin to turn on her. Fortunately, River is able to teleport Amy to the control room before the Angels can kill her.

Once the Angels have drained the ships power they gain access to the main control room, but they have overlooked the gravity of the situation. The Doctor uses this to his advantage as the vessels artificial gravity systems fail, sending all the Weeping Angels plummeting into the glowing rift, eventually sealing it while the Doctor, Amy, and River cling onto the controls. With the Angel now erased from her mind Amy quickly recovers, the Doctor says goodbye to River before she teleports back to the Clerics ship, but she tells him they will meet again soon when the mysterious Pandorica opens, which the Doctor dismisses as nothing more than a fairy tale. On their return to the TARDIS, Amy asks the Doctor to take her back to the night they left Earth. Amy explains that she’s actually getting married in the morning, showing the Doctor her wedding dress and ring. Suddenly she tries to seduce the Doctor, but he backs away, having noticed that the date of Amy’s wedding, 26^th June 2010, is the same as the time explosion he believes is responsible for the cracks that have been appearing across time. So he takes Amy away so that he can try and figure out what is happening…

This is also a great story for Karen Gillan, who really gets to earn her stripes as a resourceful companion as she literally comes face to face with the Weeping Angels. Amy manages to switch off the security footage of the Weeping Angel, but she has inadvertently looked into its eyes, and allowed the creature to imprint itself on her brain. There is horrific moment when she rubs her eye and dust pours out as they are exploring the Maze of the Dead, and later her hand seems to turn to stone. Perhaps most chilling of all though is the countdown Amy does without even noticing she’s doing it; as the Angel continues to attack her from inside her own mind. Steven Moffat has crafted these scenes perfectly, as viewers it’s almost as if we are stumbling though the forest with Amy as she blindly struggles to escape only to disturb the Angels who slowly begin to turn around and notice her.

In Series Five the crack in time on the young Amelia’s bedroom wall plays a pivotal role in the events leading up to the series finale. In Flesh and Stone the Doctor begins to realise how the rift on the Byzantium is linked to the crack in Amy’s wall, which has begun to appear throughout time and space, erasing anyone from time that it comes into contact with, and is somehow linked to a massive time explosion. Although these plot threads are left unresolved for now, while the main story arc begins to focus more on Amy and Rory, the events linking the cracks in time would eventually fall into place – particularly a conversation between Amy and the Doctor in the forest in Flesh and Stone – during the complex series finale: The Pandorica Opens and The Big Bang (2010) when all of the Doctor’s enemies unite to imprison him in the Pandorica.

The Weeping Angels themselves are as fabulously unnerving and creepy as ever. From the moment we see the Angel moving on the screen towards Amy, growing ever nearer, until it begins to emerge from the screen, much like the ghostly entity in the film, The Ring, they are always lurking in the darkness and ready to strike. The statues in the Maze of the Dead begin to come to life and turn into Angels; these lumpy, misshapen things are absolutely horrific as they stalk the Doctor and his companions. When the Angels use the voice of the Cleric, Bob, to taunt the Doctor, it offers an even more gruesome aspect to the Angels powers. On the ship they become full Weeping Angels, caught in the muzzle flash of gunfire, they advance relentlessly, before cornering Amy in the forest – a chilling scene in which the unsettling concept of actually seeing the Weeping Angels moving also becomes a reality. It is only really in the closing moments, when the Angels are sent tumbling into the rift that some of the tension is lost, and it feels like they were defeated a little too easily.

Looking back at The Time of Angels & Flesh and Stone now, this exciting action-driven story by Steven Moffat is ingeniously constructed, it successfully broadens the mythology of the Weeping Angels established during their debut story, Blink, and slots perfectly into the ongoing story arc of Series Five while also remaining immensely enjoyable as a stand alone story in its own right. The special effects are also outstanding: from its exciting opening moments in space, to the brooding menace of The Maze of the Dead; through to the final showdown on the Byzantium, director Adam Smith’s work on these episodes is exceptional.

The Time of Angels and Flesh and Stone are both thrilling episodes, with some terrific performances all round, together with the return of the Weeping Angels, this exciting two-part story is a real highlight of both Series Five and Matt Smith’s first year as the Doctor.

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Doctor Who The Time of the Doctor Review

Tags

Clara Oswald, Cybermen, Daleks, Doctor Who, Doctor Who Christmas Special, Jenna Coleman, Matt Smith, Orla Brady, Peter Capaldi, Steven Moffat, Tasha Lem, The Doctor, The Silence, The Time of the Doctor, Trenzalore, Weeping Angels

The Time of the Doctor

Review by Paul Bowler

[Contains Spoilers]

The 50^th Anniversary of Doctor Who draws to a close as Matt Smith takes his final bow and hands over the key of the TARDIS to his successor, Peter Capaldi, in the 2013 Christmas special: The Time of the Doctor. The 2013 Christmas special, the ninth since the series returned in 2005 is also the programmes 200^th episode, and it’s a seasonal spectacular packed with monsters and adventures where the Time Lord must face his darkest hour.

The fall of the eleventh is nigh and the clock is already ticking twelve’s as the Doctor (Matt Smith) arrives to whisk Clara (Jenna Coleman) away from her family Christmas diner for one last adventure, to answer the call to a distant backwater world, where the Doctor meets his old friend Tasha Lem (Orla Brady), and his deadliest enemies have also arrived having been drawn to this planet by a mysteriously indecipherable signal echoing through the depths of space.

The Doctor must discover what this signal heralds for his fate, and that of the universe itself, as their journey takes them to the planet below, Trenzalore, the place where it is foretold the First Question will be asked and the Doctor will ultimately fall. The snow covered streets will lead to the Doctor‘s final battleground. Soon the trap is sprung, as the Daleks, Cybermen, Weeping Angels, and the Silence, begin to attack, the Time Lord stands defiant and becomes a hero to the people of this small town. The Siege of Trenzalore has begun and the Doctor; his many lives now all but spent, must make his final stand and confront the inevitability of his own mortality…

The Time of the Doctor is the third adventure in a broadly linked trilogy of stories, that began with The Name of the Doctor, and then continued spectacularly in the 50^th Anniversary special The Day of the Doctor. The Time of the Doctor also marks a return to Trenzalore, the planet first mentioned in The Wedding of River Song (2011), which has since often been spoken of in hushed whispers and dark prophecies. We know Trenzalore is where the Doctor will die, his body is buried there, and in the Name of the Doctor he even saw his own tomb in the future. Dorium Maldovar told of the question that must never be answered, a religious order called the Silence are determined to ensure this never happens, and even the Great Intelligence knows the Doctor’s time was almost up.

Having linked a severed Cyberman head “Handles” to the TARDIS console to decipher the signal coming from the unknown planet, that has left half the universe in terror, the Doctor is first confronted by the Daleks before being attacked by Cybermen and escaping in the TARDIS as the Cybership attacks, when the he suddenly gets  a call from Clara on Christmas Day. She needs help cooking the Christmas dinner for her family, so the Doctor makes a quick detour to lend a hand. After helping with lunch and meeting Clara’s family: Dad (James Buller), Linda (Elizabeth Rider), and gran (Sheila Reid), the Doctor offers Clara a respite from the festivities while the turkey cooks, and together they set off to investigate the signal coming from the planet where his enemies ships are gathering, which Handles bizarrely identifies as Gallifrey. The TARDIS is intercepted by a giant vessel of The Papal Mainframe, where they are taken aboard and greeted by the Doctor’s old friend, Tasha Lem, and her troops, Colonel Albero (Mark Brighton) and Colonel Meme (Sonita Henry). At the behest of Tasha Lem, the Doctor and Clara set out to explore a town called Christmas on the planet below, which is blanketed by a truth field, where they encounter Abramal (Rob Jarvis) and Marta (Tessa Peake Jones), and a young boy called Barnable (Rob Jarvis).

Some of the Doctor’s most feared enemies have also heeded the call to Trenzalore, gathering together on this remote world to oversee the demise of their greatest adversary. The Daleks are as formidable as ever, stalking the Doctor until the bitter end, while the Cybermen introduce a wooden upgrade to counteract the effects of the Time Lords defences. The Weeping Angels are more ruthless than ever, lurking in a snow storm, they will stop at nothing to prevent the Doctor’s escape, and  we will finally lean why the Silence is so determined to ensure that the question they have protected so incessantly is never, ever answered.

The issue of the Doctor’s remaining regenerations is also tackled in The Time of the Doctor as he approaches the end of his natural lifespan. It is well known fact that Time Lords can only regenerate 12 times, a rule established by the 1976 story The Deadly Assassin, which over the course of a number of stories, has subsequently become so engrained in the mythology of the series that it is now the one, indefatigable rule that cannot be ignored. However, as well as the 10^th Doctor’s somewhat truncated regeneration in Journey’s End (2008), since the events of The Day of the Doctor, it is the quandary posed by the introduction of the War Doctor (John Hurt), an incarnation that existed during the Time War between the Doctor’s 8^th and 9^th regenerations, that has now actually made  Matt Smith’s 11^th Doctor the Time Lords final incarnation.

The Doctor and Clara teleport to the planet, they arrive in a town called Christmas, where the Doctor discovers a crack in time, the same one that originally featured in Season Five, where the message is being transmitted from. The message is the same question repeated over and over: “Doctor Who?” It is the question that must never be answered, it is from the Time Lords of Gallifrey – who were transported into a pocket dimension in The Day of the Doctor – and if the Doctor speaks his name they will know this is the place where they can try and return.  But if this should ever happen the alien forces circling the planet will burn this world, a world Tasha Lem informs him is Tranzalore, and that the Time War will start all over again. The Siege of Trenzalore will begin and untold chaos and destruction will be unleashed throughout the universe. The Doctor then tricks Clara and sends her back home in the TARDIS, while he remains to defend the town and enforce the stalemate.

The Time of the Doctor starts out as a fun Christmas adventure for the Doctor and Clara, before events quickly take a darker turn, when the Doctor explains to Clara that he has no more regenerations and his time is almost up.  There are some fun moments to be had though, especially with the Doctor helping Clara to cook Christmas dinner, and meeting her family, but once the TARDIS arrives on Trenzalor a brooding air of menace begins to pervade this bizarre winter wonderland as the Doctor’s enemies prepare to strike. Tasha Lem is a very intriguing character, a being with an uncanny knowledge of the Doctor, played by  Orla Brady who gives a great perforce as the strange alien. We discover that Tasha Lem is the supremely powerful Mother Superious of the Papal Mainframe, an old friend of the Doctor, she knows him very well and is extremely loyal to him.. However, her friendship with the Doctor later proves crucial, as her will alone is strong enough to resist Dalek conditioning, especially with a little help from the Doctor and Clara after the Dalek reinforcements have arrived.

Fortunately with Clara Oswald around, the past, present, and future never  seems to be set in stone, as the Impossible Girl stubbornly refuses to be sent home, gripping the sides of the TARDIS, she forces the Time Machine to return her to the Doctor, now an old man, who has been defending Christmas and its population for over three hundred years. The Doctor explains to Clara that he has reached his final regeneration. They are transported back to the Papal Mainframe, where they learn the Silence are really genetically engineered priests, and that it was the Kovarian chapter who broke away from the Papal Mainframe to prevent the Doctor ever reaching Trenzalore by destroying his TARDIS (The Pandorica Opens / The Big Bang) and engineering a child, who would grow up to be River Song (The Impossible Astronaut / The Day of the Moon / A Good Man Goes To War / Let‘s Kill Hitler / The Wedding of River Song), to assassinate  him. It seem that the Daleks have returned, Tasha and her crew have been taken over and transformed by the Daleks, but she manages to resist and helps the Doctor and Clara escape, before Clara is tricked again by the Doctor into going home for a second time.

Back in her flat with her family after Christmas lunch, Clara hears the TARDIS return. She rushes out only to find that it was Tasha flying the TARDIS, she does not want the Doctor to die alone, and together they return to Trenzalore where Clara is reunited with the Doctor, now extremely old and facing the end of his life. He still refuses to release the Time Lords, only the Daleks now remain to oppose him, and the Doctor has been fighting them with the aid of the Silence. As the Doctor goes to the Clock Tower to face the Daleks attack, it is then that Clara desperately appeals to the Time Lords of Gallifrey through the crack in the wall, she begs them to reach out and help him as she speaks his name.

The crack in time vanished from the wall before suddenly reappearing in the sky above Trenzalore as The Time Lords bestow the Doctor with the energy of a new regenerative life cycle, which he then unleashes on his enemies to destroy them as his 13th regeneration begins. After the battle Clara goes back inside the TARDIS to find the Doctor is young again. He begins to see images of the young Amelia Pond as he waits for his regeneration and new life cycle to begin. The adult Amy Pond (Karen Gillan) appears to greet her raggedy man in his final moments. Clara watches in awe as the Time Lord rapidly regenerates into the new Doctor (Peter Capaldi), who quickly says “kidneys, I‘ve got new kidneys!” before turning to her as the Time Machine lurches in flight and asking her is she knows how to fly the TARDIS.

Matt Smith is superb as the Doctor in this story, looking positively Troughtonesque in a new variation of his costume, delivering a show stopping performance that is simply brilliant. You get a real sense of the Time Lords plight as he is faced with the certainty of his impending death as he begins to age over the course of the episode. This time there is no more running, and nowhere to hide. Ever since Matt Smith’s gangly tweed clad, fez loving, 11^th Doctor burst onto our screens with a cry of “Geronimo” he has charmed us with his carefree spirit of adventure, bow ties, jammy dodgers, and fish fingers and custard. His adventures have been some of the most complex and timey wimey in the shows history. The companions were many, Amy and Rory, River, the Paternoster Row gang, and finally Clara, were all swept up in the Doctor’s adventures. Matt Smith also managed to convey the Doctor’s great age and more alien eccentricities, enthusiastic and almost frivolous one moment, his steely gaze held centuries of wisdom that belied his youthful appearance.

Jenna Coleman is also excellent as  Clara Oswald, her journey as the Doctor’s companion has seen her life become entwined with the very fabric of the Doctor’s time line, she has meet all of the Doctor’s incarnations at one point or another, saved him on many occasions, and played a significant role in helping the Doctor remember the promise he made when he took his name so he could find another way to save Gallifrey during the Time War. I have really begun to warm to Clara as a character now, to begin with it sometimes felt like we were always meeting Clara for the first time, only to have her snatched away again before we could even get to know her. Fortunately when Clara became a full time companion in The Bells of St John (2013), we finally got to know the Impossible Girl a lot better. Jenna Coleman also had great chemistry with Matt Smith’s Doctor, her character still has plenty of potential, and it will be interesting to see how Clara adjusts to Peter Capaldi’s new Doctor.

Steven Moffat brings the 11^th Doctor’s era to a rousing, if highly complex, close with The Time of the Doctor, bringing together various plot threads, some of which reach as far back as The Eleventh Hour (2010) itself, including revelations about the Silence, the Seal of the High Council which he took from the Master in the Five Doctors, as well as revealing what the Doctor saw in The God Complex (2011) when he looked into room 11, and even the question that must never be asked is finally revealed. Director Jamie Payne skilfully balances the darker elements of the story, interspacing them with a couple of very funny moments – when the Doctor and Clara have to cook the turkey and when she later finds him naked in the TARDIS – as well as some particularly emotional scenes for the Doctor and Clara, and the final showdown is explosive and shocking. I do feel that The Time of the Doctor is a tad overlong, the regular episode length would have probably been sufficient, and the story effectively reboots the series – paving the way for an entirely new era of the show to being. Peter Capaldi also makes a strong debut as the new Doctor, the rogues gallery of monsters bring added menace to this Christmas episode, and Matt Smith’s heartrending final moments as the Doctor will resonate long after the credits have rolled. The Time of the Doctor is a brilliant Christmas special, it rounds off the 50^th Anniversary celebrations of Doctor Who in fine style, and provides a triumphant finale for this youngest ever incarnation of the Doctor.

Images Belong To BBC

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The Angels Take Manhattan

Tags

Arthur Darvill, Doctor Who, Dr Who, Dr Who Season 7, Karen Gillan, Matt Smith, River Song, The Angels Take Manhattan, Weeping Angels

The Angels Take Manhattan

Review by Paul Bowler

[Contains Spoilers]

The Angels Take Manhattan takes full advantage of New York’s famous landmarks

The Angels Take Manhattan opens in the shadowy streets of 1930’s Downtown New York as Sam Garner (Rob David) narrates the darkest day of his life. Garner has been given the task of investigating an old apartment block, Winter Quays, by an odious collector called Grayle (Mike McShane). When Sam arrives at the run-down building he explores its dark corridors, where he is shocked to discover a version of himself as a dying old man. His older self urges him to escape but before he can flee Sam is attacked by the Weeping Angels…

An idyllic moment of happiness for the TARDIS crew

We join The Doctor, Amy, and Rory in present day New York as they enjoy a relaxing day in Central Park. The Doctor has been reading aloud from a pulp-fiction novel that he has found, although his companions don’t quite share the Time Lords enthusiasm for the adventures of private detective Melody Malone. But this idyllic moment of happiness for the TARDIS crew soon gives way to horror when Rory goes to fetch them all some coffees, only to be hunted by a cackling stone cherub near a fountain that transports him back to 1938 where he is reunited with Professor River Song before they are both captured by Grayle’s henchmen.

The new “Cherub” Angels with their mischievous giggling are particularly unsettling

The Doctor and Amy must travel back to Manhattan 1938 to save Rory, as the Weeping Angels begin to unleash a wave of terror from within Winter Quays, but as The Doctor and River race against time to help the Ponds escape, the time has come for Amy and Rory to make the ultimate sacrifice…

The Angels Take Manhattan sees The Doctor faced with an almost impossible situation. Matt Smith is excellent in this episode, giving his most emotive performance yet as he effortlessly walks the fine line between the Time Lords turbulent eccentricity and menacing gloom. Indeed, Matt Smith has done some remarkable things with The Doctor’s character this season, nevermore so than here – when the stakes have been raised so high – do we get to see the strength and humility that makes The Doctor such a universal force of nature.

Amy and Rory’s lives are ripped apart by the Weeping Angles

As this is the last story to feature Amy and Rory as The Doctor’s companions, it is perhaps all the more poignant that Karen Gillan and Arthur Darvill are to depart just as the Ponds are at the height of their popularity. Steven Moffat’s incredible script for The Angels Take Manhattan sees the Ponds lives ripped apart by the Weeping Angles as their plot to ensnare the Time Travellers draws them inexorably towards the episodes tear-jerking climax. This is an episode full of fraught emotions: even the stoniest heart will melt when Rory tries to get Amy to push him off the roof of Winter Quays, and you’ll be dismayed as River Song is forced to allow fate to take its course, but nothing will prepare you for The Doctor’s heartrending cries of despair as Amy valiantly stands her ground against a Weeping Angel to be with the man she loves.

Steven Moffat’s quantum locked creations are utterly remorseless and without mercy

Ever since their first appearance in Blink (2007) The Weeping Angles have gone on to become one of the series most popular monsters. Here they are at their horrific best, lurking amongst the shadowy halls of Winter Quays, ready to strike from the dark without warning, and the startling new “Cherub” Angels with their mischievous giggling are particularly unsettling when  Rory is trapped with them in Grayle‘s basement. Steven Moffat’s quantum locked creations are utterly remorseless and without mercy, predators of time who feed on the timelines of sentient beings in order to survive. After their apparent destruction in The Time of Angles / Flesh and Stone (2010), the Weeping Angels are back with a vengeance, gorging themselves on the latent energy of “the city that never sleeps” to feed their relentless hunger: turning every stone statue, monument, and gargoyle around Winter Quays into Weeping Angels. Even the Statue of Liberty itself becomes a twisted monstrosity as it silently stalks its prey across the Manhattan skyline.

Matt Smith and Alex Kingston have some great scenes together

Alex Kingston makes a welcome return as Professor River Song, making her most timey wimey entrance yet as she inveigles her way back into the Time Lords life from the very pages of the Melody Malone novel he’s been reading. The Professor River Song we meet in The Angels Take Manhattan is as vivacious as ever, and still flies the TARDIS better than The Doctor, but the woman that Alex Kingston portrays here seems more akin to the River Song we first saw in her fateful encounter with the 10^th Doctor (David Tenant) in Silence in the Library / Forest of the Dead (2008). There are some great scenes between Matt Smith and Alex Kingston in The Angels Take Manhattan: when River is trapped by Grayle’s chained Weeping Angel we learn she has been pardoned for her crimes and that all knowledge of the man River was imprisoned for killing has been wiped from every data bank in the universe; which perhaps explains what The Doctor has been up to while the Ponds decided to remain on Earth between adventures. The Doctor now dwells within a mysterious veil of anonymity, even the Daleks don’t seem to know who he is anymore, leaving only River Song to weave the last remaining threads of his past, present, and future to form the unequivocal testimony of the woman who killed Doctor Who…

Amy know the risks inherent when The Doctor travels alone for too long

River may have been able to help Rory after he got transported back to 1938, whilst able to keep one step ahead of Grayle and his sinister plans, but even her incredible foreknowledge is no match for the power of the Weeping Angels. The Melody Malone novel holds even more secrets than River’s diary, binding them all too future events that cannot be changed once they are read. She lies about breaking her wrist to escape Grayle’s prized exhibit, the chained Weeping Angel, but the Doctor uses his regeneration energy to heal her – which leaves River none to impressed with The Doctor. A brief interlude between River and Amy after they’ve escaped Grayle’s building also foreshadows the gathering storm that will soon engulf them all. When River warns her mother never to let the Time Lord see the damage he does, adding that The Doctor“doesn’t like endings”, which is especially poignant as they both know the risks inherent when The Doctor travels alone for too long.

Grayle’s prized exhibit, the chained Weeping Angel

Mike McShane’s villainous collector has foolishly imprisoned a Weeping Angel. He needs River Song to help him find out what the creature is, but is unprepared for the full extent of their terrible power. Having tortured the latest addition to his collection, it is perhaps fitting that when the Weeping Angels come for Grayle, their revenge is sure and swift.

Nick Hurran’s lavish cinematic direction elevates this episode to a whole new level; the location filming in New York looks absolutely stunning. The impeccable attention to the period detail of the scenes set in the 1930’s also help Hurran to strike the perfect balance between the two time zones. The Angels Take Manhattan takes full advantage of New York’s famous landmarks: Tudor City, Central Park, Times Square, and The Brooklyn Bridge, all play a part in Doctor Who’s most ambitious transatlantic adventure to date. Hurran also filmed some key scenes in Cardiff: locations that range from Cardiff University, The Glamorgan building in Cathays Park, and Box Cemetery in Llaneli are all flawlessly enhanced by the magic of CGI to give them the distinct look and feel of the high rise buildings of New York.

The Doctor and Amy must travel back to Manhattan 1938 to save Rory

Murray Gold’s score for The Angels Take Manhattan is as equally spellbinding, enhancing every key emotional moment as the Ponds exit draws near; no doubt leaving many fans reaching for the tissues as we say goodbye to Amy and Rory for the last time.

Steven Moffat promised that Amy and Rory’s departure from the TARDIS would be truly heartbreaking, and he is true to his word. From the moment you see the black swirling vortex of the title sequence – and the Doctor Who logo wickedly tinged in green – you are propelled into one of Moffat’s most labyrinthine scripts ever as he effortlessly ties everything up, even finding time to include a lovely coda for the young Amelia Pond’s very first story: The 11^th Hour (2010.

Amy And Rory decide to face their destiny “together, or not at all”

The weeping Angels have been feeding off the residents of Winter Quays, using them like a battery farm, but when The Doctor, River, and Amy catch up with Rory at Winter Quays they find he has discovered an old man – and just like Sam before him – Rory is confronted by the fully horror of his elderly self dying in a bed. Rory and Amy witness the older Rory die as The Doctor and River look on, soon the Weeping Angels begin to come for Rory, determined to send him back in time again and feed off him like the other residents. But Amy has other ideas, leaving The Doctor and River to cover their escape, they plan to leave and cause a paradox – the only thing powerful enough to destroy the Weeping Angels. Trapped on the roof by a giant Weeping Angel, Rory decides to jump to his death to create the paradox. Amy refuses to let him, instead joining him on the ledge, and as Ponds decide to jump from the roof and  face their destiny “together, or not at all” they sadly find that the last page of their story has already becomes set in stone; and not even The Doctor can save them.

A Weeping Angel has survived and catches Rory unawares as he finds his own gravestone

As the Paradox wipes out the Weeping Angles it returns Amy and Rory safe and well to the Graveyard to rejoin The Doctor and River in the present – where we caught a glimpse Rory’s grave earlier. Tragically a lone Weeping Angel has survived and catches Rory unawares as he finds his own gravestone. As Rory is catapulted back into the past a distraught Amy confronts the Weeping Angel, ignoring The Doctor’s warnings, she turns and says goodbye to her “raggedy man” and fades away to be together with Rory in the past. As the wailing Time Lord sinks to his knees Amy’s name appears alongside Rory’s on the gravestone. River leads The Doctor back to the TARDIS, where The Doctor asks River to travel with him. She agrees, at least to joining him at some point in the future, as right now she has a date with history and a novel to write…

So as the credits roll and we leave the girl who waited and the last centurion to their fate, the brief teaser for the Christmas Special will at least go some way to easing the pain of Amy and Rory’s final adventure with the mad man in a blue box. The Angels Take Manhattan is one of the best episodes so far this season, full of grand spectacle and fantastic scenery; it also offers a thrilling finale for Karen Gillan and Arthur Darvill. Together they have found a place in our hearts, they will be fondly missed, and their time during the 11^th Doctor’s era will be forever in our thoughts.