I used to say that this was my least favorite season and my least favorite companion and now I'm not sure if that's true. I do know that I've found a newfound appreciation for Martha and what a capable, wonderful companion she truly is. What hasn't changed is that this season suffers a lot from some crazy plot lines and giant plot holes. Most of the time, and with only a few exceptions, the good episodes are good DESPITE some other bad stuff happening in the background.
We head straight into DOO WEE OOOH after the previouslies, and then a title card lets us know that this episode picks up one year after the previous one. A man standing on a beach signals to a row boat that is approaching the shore with a lamp. Martha gets off the boat and runs up to the man. She asks his name (Tom Milligan) and but he doesn't need to ask for hers: she's the famous Martha Jones. He asks how long it's been since she's been in Britain. 365 days. "It's been a long year."
An alleyway somewhere in London. "VOTE SAXON" posters are plastered all over the walls. A blue swirly vortex appears and out pop Jack, Martha and the Doctor, courtesy of Jack's wrist cuff. They all immediately make NYARGH-y sounds because time travel without a capsule is horrible. Jack's impressed that they made it to the right place and the right time, but the Doctor says "That wasn't luck. That was me."
The TARDIS materializes and the Doctor announces they are in Cardiff. Martha is like, "CARDIFF?" so he has to explain that Cardiff is built on a rift in time and space. He stops here every now and then to refuel. The Doctor says it should only take 20 seconds, but also notes that the rift has been active.
We cut outside. Someone is running toward the TARDIS, but we don't quite see his face. Some of you may notice that the Torchwood theme is playing. I didn't notice but I always watch with closed captioning, so.
We cut outside. Someone is running toward the TARDIS, but we don't quite see his face. Some of you may notice that the Torchwood theme is playing. I didn't notice but I always watch with closed captioning, so.
I'm really curious to recap this episode, because it's easily been one of my favourites up until now. (Which is odd because it's written by Steven Moffat, and I've basically hated everything about his time as show runner...) But favourite things don't always stand up to being watched incredibly slowly, so...we'll see.
We open with CAREY MULLIGAN!!! climbing over a creepy fence into the grounds of a creepy house in the creepy rain accompanied by creepy music. There's a "Danger: Keep Out" sign on the gate.
We open with CAREY MULLIGAN!!! climbing over a creepy fence into the grounds of a creepy house in the creepy rain accompanied by creepy music. There's a "Danger: Keep Out" sign on the gate.
We start the episode right where the last one left off with Viserys Targaryen giving John Smith the ultimatum to either save Martha or Joan. John Smith is clearly at a loss, but in the background Latimer (baby Jojen Reed...) pulls out the Doctor's pocket watch. He opens it and we see some of that magic Timelord ejaculation float up from it and a voice whispers, "Time Lord." The aliens all freak out, giving Martha an opportunity to break out of alien!Jenny's grasp and grab the gun, like a total badass.
Martha and the Doctor burst into the TARDIS, explosions following them. The Doctor asks frantically if "they" saw Martha's face. She insists that they couldn't have. They set off through time and space, but the unnamed "they" follows, thanks to some stolen technology. The Doctor looks panicky as he realises "they" can follow him anywhere. "I'll have to do it," he says. He grabs a pocket watch and waves it at Martha, saying that his life depends on it. He talks directly into the camera as he starts to say more about the watch.
We start in the TARDIS with the Doctor rigging Martha's flip phone so that it now has all-space-and-time roaming activated. Martha is impressed but before she can test it out, the TARDIS jerks and an alarm starts blaring. The Doctor announces that it's a distress signal and he's locking onto it.
After a bit more turbulence (thought it's an oddly quick series of events. Like AHH distress signal AHH we're here!) they land and the Doctor hurries out to investigate. Martha follows him out and they both comment on how hot wherever they've landed is.
After a bit more turbulence (thought it's an oddly quick series of events. Like AHH distress signal AHH we're here!) they land and the Doctor hurries out to investigate. Martha follows him out and they both comment on how hot wherever they've landed is.
The Doctor and Martha furiously work the controls of the TARDIS, then the Doctor compliments himself on a perfect landing. Martha excitedly wants to know where they are, and the Doctor replies "The end of the line..." She clearly doesn't hear him, and rushes out the door excitedly. Her face falls when she realises that she's standing in her living room. The Doctor informs her that it's the morning after they left on their trip, and she's only been gone about 12 hours in real time.
Marines: So, basically he gets the landing and timing exactly right when he's trying to dump someone? Cool.
Marines: So, basically he gets the landing and timing exactly right when he's trying to dump someone? Cool.
The supremely phallic Human Dalek announces that all of the humans in attendance will soon also increase their facial phallicness 1000%. The Doctor sneaks away as the Coverall Pigs step forward to apprehend people. "Happy Days Are Here Again" starts playing and everyone gets real confused. Phallic Human Dalek asks what that sound is and the Doctor peaks out to say he did it. He's got a radio in his hands. The Daleks immediately cry EXTERMINATE, but Phallic Human Dalek stops them. All he says is, "wait!" though, so we don't get a reason as to why they are leaving the Doctor still alive. Just wait.
Gatsby-esque Manhattan. A bunch of showgirls in glittery devil outfits run around backstage at a theatre preparing for the show. One raps on the dressing room of the star - Tallulah - to give her the two minute warning. Tallulah - dressed as an angel - is making out with her boyfriend, Lazlo. He makes her promise to come to Sunday lunch because his mother wants to meet her. Tallulah freaks a little, but Lazlo insists his mother will love her. Ha. Hahaha. Okay, Lazlo. Whatevs.
Marines: I hope this is the thing you find most unbelievable in this entire episode.
Marines: I hope this is the thing you find most unbelievable in this entire episode.
We start on a static-y screen. A cheerful news reporter says that there are reports of a stockpile of cars and carjacking. We zoom out and see that we're in a vehicle of some sort and this couple is at the helm:
Kirsti: A+ description.
Mari: I'm almost sure that is really what they were going for? I can't imagine why but it had to be purposeful.
Something is banging up against their vehicle, growling. Ma American Gothic is freaking out while Pa American Gothic assures her that the police are on their way.
Kirsti: A+ description.
Mari: I'm almost sure that is really what they were going for? I can't imagine why but it had to be purposeful.
Something is banging up against their vehicle, growling. Ma American Gothic is freaking out while Pa American Gothic assures her that the police are on their way.
London, 1599. A guy with a terrible hair cut plays the lute and sings to a woman leaning out of her window. It's all very Romeo and Juliet. She looks incredibly familiar, and that's because she's Blanche Ingram from the BBC's 2006 version of Jane Eyre! (M: AHHH!) She also played Caroline Bingley in Lost in Austen. (M: Less exciting.) She informs him that after his amazing singing she's totally DTF and he rushes upstairs.
When he gets to her room, he's weirded out to see that it's full of creepy magical looking stuff. She kisses him, and turns into a crone with pointy teeth. He freaks. She gestures and two other crone-faced witches rush forward. They cackle as they surround him, and tear him to shreds.
When he gets to her room, he's weirded out to see that it's full of creepy magical looking stuff. She kisses him, and turns into a crone with pointy teeth. He freaks. She gestures and two other crone-faced witches rush forward. They cackle as they surround him, and tear him to shreds.
I've already said plenty that this is the series I'm most looking forward to revisiting because I suspect my feelings will be different on rewatch. I'm keeping my mind open, friends. The Rose-era has passed and onward we go.
Busy London street. Freema Agyeman is back, you guys, and she's walking along. She gets a call from her sister who insists that their father is going mental and Freema has to do something about it. Next, her brother rings (and thankfully calls her Martha, getting that out of the way) and says that he didn't even want a party and if their parents are going to fight about it, they can just give him the money. I tried this tactic for my Quinceañera and I'm still waiting on that money, bro.
Busy London street. Freema Agyeman is back, you guys, and she's walking along. She gets a call from her sister who insists that their father is going mental and Freema has to do something about it. Next, her brother rings (and thankfully calls her Martha, getting that out of the way) and says that he didn't even want a party and if their parents are going to fight about it, they can just give him the money. I tried this tactic for my Quinceañera and I'm still waiting on that money, bro.
Space. We pan around to the Earth, then do a dramatic zoom - with heavy brass accompaniment - into a church somewhere in London. The ginger bride from the end of Doomsday stands at the head of the aisle. The organ starts up, and it's incredibly confusing because the music is Mendelssohn's Wedding March, which is traditionally considered a recessional, not a processional. #musicnerdproblems
ANYWAY. The groom turns around, they grin at each other, and Ginger Bride makes her way down the aisle. Half way down the aisle, she starts to glow. Like, literally. She's full of glowy gold light. Then she screams and disappears into a glow cloud thing.
ANYWAY. The groom turns around, they grin at each other, and Ginger Bride makes her way down the aisle. Half way down the aisle, she starts to glow. Like, literally. She's full of glowy gold light. Then she screams and disappears into a glow cloud thing.