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May 22nd, 2010

Finally saw "The Time of Angels"/"Flesh and Stone" last night; unfortunately, our video recorder has very wonky sound issues and so the dialogue kept wandering in and out. Nevertheless, we did get to follow the gist of what was going on.

The callbacks (both obvious and not-so-obvious) to "Silence In the Library" were fun; River Song herself of course, but also thematic things like the voices of dead people over the radio, and talking to the monster through the medium of one of the people it's killed. I didn't recognize Dr. Song ... the lighting in "Silence In the Library" was so uniformly dark (and her hair was darker as well, instead of blonde this time around) that I had a completely different image of her in my memory.

I was a bit baffled by the "shooting at the bottom of the spaceship" bit, until I realized it was the gravity ball he shot. I thought it was a light on the ship, and I was trying to figure out what the significance of that was. That may have been a product of the bad sound pfutzing up the dialogue track.

It also left me with some nagging geek-style questions about the Weeping Angels. Are they actually made of stone? If so, why can't you just smash them with a hammer? Particularly in cases like the cleric caught with the Angel's arm around his neck, why not just break the arm off? Stone statues are tough, yes, but not impervious, and especially not the limbs. (There's a reason Venus de Milo has one less limb every time she's put into a new exhibition.)

If they're not stone but actually some indestructo-super-material, could you, say, freeze one by staring at it and then prop something incredibly heavy on it, trapping them in place?

I will say, tho, that through everything that's happened this season so far, I do wish Donna was along. Although honestly, I'm not sure Matt Smith could stand up to her. He's cool and otherworldly and all, yes, but he needs to simmer for about ten years before he'd be on a comparable level.

On the other hand, the opening titles have really grown on me. I remember when the Eccleston titles were first unveiled, bemoaning the fact that they lost the implication of mystery that the older title sequences had, and the new music seems to have recaptured it. It's a subtle thing, and I couldn't point you to exactly what the difference is ... just a certain ethereal something lurking under the main melody that tells you "Strange and scary things are coming your way..."

-The Gneech

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