A good year after the facts, what remains of series 10?
Well, the fact it went down pretty alright is noticeable. There was still the fair share of moaning one must expect when Doctor Who and Steven Moffat are concerned, but it was a pleasantly uncontroversial run of television. Which is also why it’s criticized – for being, quite simply put, a bit pedestrian. A bunch of competent, solidly put-together stories that don’t really push any boundaries or make the show more interesting – yes, there is “Extremis”, there’s the finale, and there’s Bill, who is a ray of sunshine (even though her characterization is purposefully a lot less layered than Amy or Clara before her), but as a whole, the series is, if not a failure, at least a dispensable appendix stuck to a Moffat era which was pretty much completed in 2015. Which, let’s not yield to the sirens of historical revisionism, it really rather was. You can’t look at the double whammy of “Hell Bent” and “The Husbands of River Song” without sensing the end. “Hell Bent” completes the deconstruction and analysis of the show Moffat carried through his entire run, and “Husbands” is a final moment of reconstruction and catharsis that literally concludes with a big-ass “and they lived happily ever after”. It’s as direct as you can get.
So, well, when you hear someone tell you that series 10 is their favourite Capaldi series, or their favourite Moffat one, it does sometimes feel a bit like someone saying “well, the concert was shit, but that one unfinished track that played during the encore was pretty sweet I guess”. And the idea that it’s basically entirely disposable has been gaining traction in the Discourse-generating circles – some of my own coreligionists on here share it, and maybe most importantly, it’s been enforced by El Sandifer, which basically, in the world of the Who analyst, corresponds to a giant “THIS IS THE ENLIGHTENED INTELLECTUAL CONSENSUS”.
So. Let’s be a pointless contrarian and examine why I think all of this isn’t true, shall we?