Stranded TARDIS-less in 1969, the Doctor communicates via DVD (and notes under wallpaper) with Sally Sparrow, a twenty-something living in London, 2007.
If the concept alone doesn’t get the juices of Doctor Who fans the world over running, this next bit should. The Doctor and Martha – and others – have been thrown out of time by "Weeping Angels" statues that aren’t statues at all, but quantum-locked aliens. This ingeniously means that once seen by any living creature (themselves included) the "statues" are frozen, but when you look away, or blink…
Now let’s just stop it there, now, right now. Stop. Oi! You at the back – I said STOP!
Just what the hell is going on? This is NuWho, conceived by Russell T Davies and executed by his crack team of emo freaks, dredging storylines from soap operas and giving us Peter Kay as a fat alien. It isn’t supposed to be this good, is it? I mean, I haven’t given any of the episodes a bad review yet, not even Evolution of the Daleks!
So who the hell does Russell T Davies think he is, producing a series this good? There are supposed to be weak links like Boom Town and New Earth, reasons for me to be disappointed, and the only think I’ve been disappointed with in Series 3 was the Radio Times cover with Dalek Sec out mono-staring me.
If things carry on being this good, I’ll have nothing to talk about in the summer, and we’ll have to run one of our features on a NuWho Doctor Who story instead of a classic story. In fact, if I can’t get Carey Mulligan out of my head between now and next Saturday, there’s going to be trouble in the Kasterborous Towers master bedroom…
So while Gerald takes the phone to my other half, let’s just summarise. A Steven Moffat-penned Doctor Who story has for the third series on the trot set itself in stone as the best single episode adventure of the run (so far…), and placing itself a very, very, very close second to Paul Cornell’s Human Nature. This is the Doctor Who season I have been waiting for since I came back from the Munich Beer Festival in 2003 and discovered a new series had been commissioned.
There’s darkness, shadows, the over-arching feeling of a net closing in on the Doctor courtesy of Mr Saxon (who wasn’t even mentioned in Blink – lessons obviously learnt from last years disastrous "Torchwood" theme/meme), a suitably toned performance from David Tennant and a fun, likeable, attractive companion.
Blink complements the previous (and more than likely subsequent) episodes perfectly, with High Fidelity-style in jokes, a convincing, real threat and an agreeable, attractive and effortless guest lead. There’s emotion, fear, love, "timey-wimey" stuff and the idea of the Doctor and Martha living in 1969 for a few weeks.
All the usual stuff that Doctor Who has given us this year was there – expert direction, strong performances, tight script and excellent FX work – but high on my list of favourites EVER in the history of everything is the slow Hitchcock-esque zoom on the eyes of those about to Blink. Sublime.
Blink is picture perfect, so thank you Steven Moffat and all concerned for producing a Doctor Who adventure without much of the Doctor in that finally wipes away the ghost of Love & Monsters