Who Sunday: "Silence in the Library/Forest of the Dead," Steven Moffat


So meet River Song, but don’t blink. I have never understood the “she’s time traveling in one direction, he’s going in the other” bit, and I don’t think the writers do, either, but this is still a great episode. (River meets the Doctor for the first time in “Let’s Kill Hitler,” which is another amazing episode, but he’s Eleven then, so I don’t see how she recognizes him in this one since he’s Ten. Very confusing.) Also, that epilogue? Really, that’s what River Song wants to be, a stay-at-home mom to three kids? I have nothing against SAMs, Clara would be brilliant as a SAM, but ass-kicking, gun-blazing, “hello, sweetie” River? I chalk this up to Moffat not thinking things through.

But the story itself is an excellent example of how to build suspense, especially the use of you-can’t-see-it-so-you’ll-have-to-imagine-it monster, SO much better than showing the Silence or even the Daleks. Especially the Daleks. I love the Daleks, but they’re basically giant salt-shaker hovercrafts. The Vashta Nerada, though, they give me the cold grue.

Who Sunday and Pam Regis: Silence in the Library/Forest of the Dead, Steven Moffat


Pam Regis did the most brilliant comment on this double episode as a romance, so I’m putting it here so that nobody misses it. Here’s Pam:

Silence in the Library/Forest of the Dead

I have identified 8 elements that every romance novel has. They can occur in any order, there can be more than one instance of each, they can be inverted for ironic effect, and they can happen “off”—be reported rather than dramatized with action and dialogue. But they are always there, every one of them. For this reason, I believe that they have unusual resonance for any reader or viewer acquainted with courtship narratives. Meaning, everyone. Continue reading