GUEST POST – The Impossible Doctor: My Journey with the Moffat Era

by Ruth Long

 

This has not, by any means, been an easy article to write. It has involved a lot of (at times uncomfortable) introspection, unpacking and examining so many emotions, fears, regrets and hopes from the past five years. But as we enter a new year, a new chapter in my life and Doctor Who’s, and say farewell to another, it feels like the right time to do this, before moving forward.

In casting a woman in the titular role, Doctor Who has done something truly amazing. For a character portrayed by male actors for over half a century, it’s a bold, brilliant and monumental step forward that is rightly being celebrated by many as a progressive new direction in which to take this landmark of science fiction and British television. Chris Chibnall’s vision in this regard is one to be applauded, and I eagerly look forward to experiencing the next era of the show alongside a generation of children who will grow up knowing, and being inspired by, a female Doctor.

But in the jubilation following this becoming a reality, it would be remiss to overlook how we got here; we came the long way round, after all. The significance of the past few series in particular, under the stewardship of Steven Moffat and Peter Capaldi, cannot and should not be dismissed. And so as a part of that I would like to share with you one fan’s story and relationship with this fictional universe, more specifically my own. Because Jodie Whittaker’s Thirteenth incarnation of the Time Lord, though a remarkable milestone for the franchise, will not be my first female Doctor.

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GUEST POST – “We’re all stories in the end”: a series 5 retrospective (3/3)

by Ed Goundrey-Smith

 

Series 5 of Doctor Who holds a special place in my heart.

Not least does it pack the full punch of nostalgia, which yes, does admittedly make it very appealing. But for me, it has proved timeless – as I will discuss, the way that the 2010 run has managed to be what I needed at so many different points in my life, is quite miraculous. Yes – not least do I bask in its fairytale magic, but I always get something new when watching Series 5.

So, with the end of Steven Moffat’s era looming, I decided to look at his first run in an analytical way. To see why they have affected me so personally, and why they continue to resonate with me seven years later.

I decided to go back to where it all began, to the little girl who waited.

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GUEST POST – “We’re all stories in the end”: a series 5 retrospective (2/3)

by Ed Goundrey-Smith

 

(Previous entry)

Series 5 of Doctor Who holds a special place in my heart.

Not least does it pack the full punch of nostalgia, which yes, does admittedly make it very appealing. But for me, it has proved timeless – as I will discuss, the way that the 2010 run has managed to be what I needed at so many different points in my life, is quite miraculous. Yes – not least do I bask in its fairytale magic, but I always get something new when watching Series 5.

So, with the end of Steven Moffat’s era looming, I decided to look at his first run in an analytical way. To see why they have affected me so personally, and why they continue to resonate with me seven years later.

I decided to go back to where it all began, to the little girl who waited.

Continue reading

GUEST POST – “We’re all stories in the end”: a series 5 retrospective (1/3)

by Ed Goundrey-Smith

 

Series 5 of Doctor Who holds a special place in my heart.

Not least does it pack the full punch of nostalgia, which yes, does admittedly make it very appealing. But for me, it has proved timeless – as I will discuss, the way that the 2010 run has managed to be what I needed at so many different points in my life, is quite miraculous. Yes – not least do I bask in its fairytale magic, but I always get something new when watching Series 5.

So, with the end of Steven Moffat’s era looming, I decided to look at his first run in an analytical way. To see why they have affected me so personally, and why they continue to resonate with me seven years later.

I decided to go back to where it all began, to the little girl who waited.

Continue reading

SCARVES AND CELERY – Missed Opportunities: “The Rebel Flesh/ The Almost People”

I don’t tend to write ultra-critical articles on this site, as while negative reviews can be fun to write, and entertaining to read, they’re not often useful for this site’s M.O. of trying to understand what a Doctor Who story is doing, and discussing the wider ideas and concepts raised by the things said story does. Redemptive readings, or positive reviews, are, in my experience, much more useful for saying something of substance about a piece of media. But there is clearly a place, and a value, in negative criticism. We can’t pretend that all media is good, and trying to understand why bad media fails, outside of sensationalism and clickbaity headlines, is often a necessary, if genuinely tricky, process. And I think “The Almost People/ The Rebel Flesh” is an example of a story where the failures are worth trying to understand. It’s a story that, given my preferred type of Doctor Who, I could easily dismiss as being uninteresting and worthless because it’s a traditionalist base under siege. But traditionalist Doctor Who still has a worldview that’s worth exploring and understanding, and can be entertaining and good television when done right (see Tibere’s excellent article on “Into the Dalek”). And for what it’s worth, I think the themes of “The Almost People/ The Rebel Flesh” are genuinely worth unpacking, particularly because the way the story fails to communicate those themes lead to interesting things to say about the worldview it conveys. So this article is not going to be an “Oh my god, this story SUCKS, the characters are one dimensional and the dialogue’s LAME” type of piece, although there will be some of that. Instead, it’s intended to be my fumbling attempt to explain why the last two-part story Doctor Who that aired for three years failed to communicate the ideas I believe the production team were aiming to communicate, and instead ended up expressing some more, and here I’m going to use a word that can stir up some angry feelings in certain people, problematic sentiments in its failure.

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SCARVES AND CELERY – “Egggggsssss”: An analysis of “Asylum of the Daleks”

When I last rewatched “Asylum”, I wasn’t expecting to enjoy it as much as I did. But it’s a visible step up from Moffat’s preceding three scripts, as he manages to put together an efficient and skilfully constructed episode, after the hot messes of “Let’s Kill Hitler”, “The Wedding of River Song”, and “The Doctor, the Widow, and the Wardrobe”. “Asylum” isn’t quite Moffat back to his best, but it is a strong episode that dares to try something new, confidently setting out the new style for its season.

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TIBERIAN THOUGHTS – The Moffat Era and three-dimensional screenwriting

Opening cliché statement: the Moffat era of Doctor Who is one hell of a marmite.

It goes beyond the simple outraged and simultaneous cries of “He’s a misogynist!” and “He’s a Social Justice Warrior!” of “He’s repeating himself!” and of “He’s changing the very fabric of the show, the gall!” – the very way he approaches storytelling is divisive. Intentionally so – he’s a media-savvy master ès trolling, that will never hesitate to purposefully provoke and antagonize. Which is why he’s also the best writer Who ever had (sorry, not sorry!) – because that’s what the show is about. Being chaotic and confusing and throwing the whole scope of the time vortex at the flabbergasted viewer. Sure, not everyone has to like it, and sometimes one can rightfully wish for a more subdued vision of the show. Still, he does “get” it; he taps into something that’s deeply, primarily tied to the essence and ethos of Who.

But let’s try a change of perspective, for once. Let’s try not to talk about themes – really, dressing a complete and accurate portrait of the man and his writing style is a bit of an impossible task anyway. There’s way too much to say – you could write books about it, and indeed, books were and will be written about it. Keeping things at a purely structural level: what does Steven Moffat adds to the show? What are the core ideas he brings to its basic skeleton – not the themes, not the writing mannerisms, but the pure, structural ideas – ?

Well, proposition: Steven Moffat has changed, and continues to change, the status of the Doctor Who writer.

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SCARVES AND CELERY – “The Image of an Angel”: a thematic dissection of “The Time of Angels/ Flesh and Stone”

Remember early series five? When Matt Smith was all baby faced, we didn’t know who River was yet, and the Moffat era was in its infancy. What an exciting and new time that was. Today, we’re to revisit the story I feel best captures that time in Doctor Who’s history: “The Time of Angels/ Flesh and Stone”, and examine the key themes and concerns animating the story, and the Moffat era as it was just beginning.

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