Moff Who, Clara, the Silence, predictions (with diagrams!)

[promethia_tenk]

*deep breath* Ok, if you're gonna play at guessing at Moffat Who, sooner or later you have to put your cards on the table. So here's how I see this whole thing going. It's a question of . . . aesthetics. Let me show you:







And that's my 2 cents.

(If you leave a comment and I've disappeared, I'm sorry. I have today off and then life goes sideways for awhile. I will do my best.)

Comments

[tenlittlebullets]

I'm not sure she's a Pond, but the diagrams are convincing about her general place in the narrative: little bubbles of plot and character enter the scene, seemingly from the sidelines, and then your view rotates and they turn out to have been central all along. Clara's going to be one of those.

I think the Ponds are also still in play, even if they've officially exited, because they're caught up in too many still-running plot threads. Other things we still don't know include: why the TARDIS blew up on Amy and Rory's wedding day, and what's behind that proto-TARDIS in the Lodger and the s6 opener. (Clara has an impeccable sense of time...) There's one other detail I keep coming back to: Amy Pond's house doesn't just have too many rooms, it has too many stories. Literally. It's a two-story house from the outside, and yet on the upper-floor landing there is a very prominent staircase. That just so happens to be identical to the one in the Lodger. It's way too prominent to be a continuity error, especially in a scene that draws attention to the extra room nobody notices. There's an extra story folded into Amy's house that isn't there on the outside.

[promethia_tenk]

I'm not sure she's a Pond, but the diagrams are convincing about her general place in the narrative: little bubbles of plot and character enter the scene, seemingly from the sidelines, and then your view rotates and they turn out to have been central all along.
Oooo, that's a good way to put it.

I think the Ponds are also still in play, even if they've officially exited, because they're caught up in too many still-running plot threads.
Earlier I thought there might be a cleaner break between Pond era and Clara era? But I feel like all the plot threads are just continuing, twisting on.

Other things we still don't know include: why the TARDIS blew up on Amy and Rory's wedding day, and what's behind that proto-TARDIS in the Lodger and the s6 opener.
I think this is going to be absolutely key. There's still so much we don't know about whatever is pulling the strings here and why.

There's one other detail I keep coming back to: Amy Pond's house doesn't just have too many rooms, it has too many stories.
That I'm mostly inclined to believe is a red herring/production coincidence? Mind you, if it isn't that would be brilliant. But I'll believe people who say that plenty of British houses have that stair runner strip and that Amy's phantom staircase is probably just a staircase up to an attic.
ETA: Just remembered how ladders and stairways are now more of a ~thing than they were back in season five. Maybe there is something there.

[tenlittlebullets]

I was on the fence about it being a production coincidence, but as soon as my brain reframed it from "too many floors" to "too many stories" I teetered and windmilled and fell off my fence with a resounding crash onto the side of "deliberate." The cute parallel between Amy's house having two stories, with a bit on top for the attic, and Amy's run having two seasons with a bit on top for s7, is probably coincidence, but the idea that the Silence have planted another story in there and you don't even see it until, once again, your viewpoint rotates to take it in from another dimension... oh, that's so deeply tempting. And the fact that so many Pond-related plot threads haven't been tied off yet means there almost has to be another story lurking in there.

Also, from a super-Doylist production standpoint, the House With Too Many Rooms is so emphasized in Eleventh Hour that I can't imagine them choosing to include that staircase on the interior set and going "eh, it probably leads to the attic." Let alone leaving a light on at the top when there's literally nobody home except little Amelia. And Moff's production team is generally pretty good at... well, at least dressing the sets so it doesn't look like they're recycling them, and a staircase is pretty easy to dress to make it look distinct. Even if the runner strip is common, the fact that they chose to reuse it could very well be significant, especially with the Lodger proto-TARDIS still a dangling plot thread.

Or Moffat could be fucking with us. Always a possibility.