London, 1892. Snow is trying to evolve, feeding off of the nightmares of a little girl. But the Doctor has given up on saving the world. It is up to a young governess named Clara to convince him, with just one word, to save the day.
The Doctor is living in 1892 London, still despondent over the loss of his friends. He has no interest in what is happening in the world even after he learns that the snow is strangely sentient and can form into rather vicious snowmen. A local barmaid, Clara, is intrigued by the Doctor and he is soon intrigued by her when it turns out she also works as a governess caring for Captain Latimer's two children. Together, they fight Dr. Simeon who has known the evil snowmen since he was a child. The Doctor is shocked when he realizes that he's met Clara before....and will no doubt meet her again.Written by
This was the first Christmas special to be filmed in BBC Wales' new Roath Lock studios. See more »
When the Doctor and Clara are running away from the ice-governess and climb the stairs to his Tardis, they start climbing the stairs clock-wise, then climb it anti-clockwise when they get near the top, even thought the ice governess is still climbing them clockwise. The stairs literally flip the opposite way. See more »
Although I generally hold Steven Moffat in high regard - thanks in no small part to the brilliant "Sherlock" - this episode to me marked one too many Doctor Who stories resolved by something of the form: "humans showing a deep emotion is all-powerful". Don't get me wrong, I have no beef with a "love conquers all"-type ending; I wouldn't be watching Doctor Who if I did. My point is that I don't much like it when a big complicated crisis (typically the impending doom of humanity, planet Earth or even the entire universe) is literally and *directly* solved by something like "a mother's love", or "children crying", or everyone just wishing really hard. Why? Because it's cheating! It's lazy storytelling. It's a deus ex machina where even the deus is poorly worked out, and it means you don't get a satisfying return on your emotional investment in the plot.
So it is with this story. One gets the feeling that Moffat wasn't that interested in writing a plot for the episode to begin with. It seems like really all it was about for him was getting to the end, where we are introduced to the mystery that will presumably form the story arc for the next season. And then he hastily fills in the rest of the episode with some vague christmassy threat, only to dispel it all too easily and through very little involvement of the Doctor.
I don't want that, Mr. Moffat. I want you to care about individual episodes as well as about big, clever, season-spanning mysteries. But perhaps even more so, I would like the Doctor to be a hero again, for once. Not one of the swashbuckling, gun-slinging variety (hell no: I want specs, brains and quirkiness), but simply somebody who actually properly saves the bloody day, rather than wait until something sufficiently touching happens that automatically does the job for him. He's a Time Lord, for crying out loud!
Also, new console room: meh, Jenna Louise Coleman: meh. But I'm hoping to change my mind on those two counts.
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