* I fear I have nothing to add that hasn’t already been said a thousand times over the last ten years, but yeah, that was amazing. Just like it was the dozen or so other times I’ve watched it. It’s the perfect episode of Doctor Who, so much so that you barely notice that The Doctor isn’t in it. As well as being so good as a piece of timey-wimey trickery that it coined the phrase “timey-wimey”, the video message was a great way of maintaining his presence with very little material.
* I still can’t believe that Sally Sparrow wasn’t the next companion after Martha. I remember being absolutely convinced that this was the plan all along – to introduce her as a one-off character and then have The Doctor run in to her again in the future. But no, Carey Mulligan had to go on to become a huge film star, and instead the same thing happened with a different, vastly inferior, one-off character.
* It’s kind of unfair to compare this to Love & Monsters, because one’s a fun romp for the kiddies and the other is a dark, twisty, horror story. I am fond of L&M, but Blink completely shows it up, especially when you consider the differences between Elton and Sally. She’s a protagonist that’s every bit as brave and extraordinary as any regular companion, while still feeling real and relatable. I would totally watch Sparrow & Nightingale. Come on, Big Finish.
* If you’re going to steal, steal from the best. And when you’re talking about complicated time travel stories masquerading as fun-filled family entertainment, the best is Back To The Future. I almost wish Kathy had been transported back to the Wild West, just to keep it themed.
* Ray Peacock/Ian Boldsworth! This is the first time I’ve seen this episode since Ian has become a bit of a cult figure among Red Dwarf fans, thanks to his role as the regular warm up man on audience recordings for the revived series. He’s not appeared on screen, yet he feels like one of the gang, so it’s lovely to see him in my other favourite show, playing a role that surely pushed his acting skills to the limit.
* For the second story in a row, we’re presented with a supposed romance between two characters that we don’t know, played out in barely minutes of screen time, and yet totally compelling and believable. In a script with a lot of competition, the initial car park scene contains two of my favourite bits of dialogue: Billy complaining about the windows being the wrong size on the TARDIS, and Sally accidentally pre-empting their eventual marriage. This little moment feels so real and human, which is what sells the sadness of the subsequent hospital scene. Just lovely.
* But the best scene overall has to be the full conversation between Sally in 2007 and The Doctor in 1969. The type of writing that’s above and beyond almost everything else on TV, and which cements Moffat’s place as one of Who‘s greatest ever writers. I literally have “The Angels Have The Phone Box” on a t-shirt. And, as we noted on my other site at the time, it’s a little bit Future Echoes, which can’t be a bad thing.
* Then it goes into full-blown horror, to such an extent that it gave someone I know, who was already a fully grown adult at the time, actual nightmares. Much has been said about the writing in this episode, and quite rightly so, but Hettie MacDonald’s Hitchcock-inspired direction deserves a special mention too. That very final sequence of statues and sinister music is there for the sole purpose of scaring the shit out of tiny children, which is to be applauded.