Welcome! This is a Doctor-Who heavy Moffat appreciation blog. I love his writing and I love to dive into the depths of the show's metaphor systems and hidden story arcs. The whole blog is to promote Moffat's brilliance and obviously none of the pictures or characters are mine. Please check the credit section for image sources.
Speaking Moffat - Darkness, Light, And A Blind Doctor
(Or: Holy crap, I finally got that)
The Doctor’s current blindness is part of a long-running light-and-dark theme in Doctor Who. Many Whovians, including myself, have analysed it to great lengths, but I have never quite gotten it in terms of metaphoric meaning. Until now. And holy crap - the implications.
So here is how it goes: Darkness and shadows stand for virtual reality. And being blind, then, is a metaphor for being inside the Matrix.
Remember the name of the Veritas-test in Extremis?
A test of shadows. The test whether you are being kept in the dark or not.
Okay so I haven't posted anything in a looong time because a) I'm technically a Moffat-blog and b) tumblr is trying very hard to become unusable. But back in the day I had a LOT of theories on the return of the Timelord matrix and I thought I'd just bring this back, seeing as O mentioned that nothing is real. Maybe it'll finally become relevant.
Several big plot points from Moffat's era were foreshadowed in RTD's era, so I think we can assume that Moffat did the same with Chibnall. I have no idea whether I got the light/dark thing right but there was a lot of light and dark in Spyfall so it does seem to be relevant and perhaps some new whovian can figure this out for me ...
I was actually in the middle of writing another post when I realised there is a beautiful logic to the villains of Sherlock.
It’s not a new concept that Sherlock’s villains serve as mirrors for our main characters, and I love when I find good meta on this. But there is a pattern to these mirrors, that I think we have not talked about - and this is where it gets beautiful:
Each and every villain is designed to represent one of either John or Sherlock’s weaknesses. Weaknesses that either drive the two apart, or bring them closer to reaching one very specific common goal: love.
And there is a very simple way of telling which villain belongs to which category…
The Time of Our Lives (Steven Moffat’s final DWM Column)
You know something I don’t know. You know who the next Doctor is. At least, I think that will be out by the time you read this. Old Chibs (as he must always now be known) is playing his cards close to his chest, and won’t tell me a thing. I attempted to give him some sage advice on the subject of secrecy, but he gave me a look, as if to say, “Seriously, have you checked your own record on this??” and had me removed by security. Again. But it’s comfy here, in my skip in the Roath Lock car park, and Russell is good company. When we’re both not crying, that is.
Actually, I’m not comfy at all. I’ve got everything crossed. Can Old Chibs pull it off? Can we actually have a new Doctor that’s a proper surprise, the way it’s supposed to be? I do hope so! But you know all that by now, out there, in the glorious new dawn.
And the fact is, I have no more news for you. Barely any secrets to keep. One more Special on Christmas Day, and I’ll be gone before the end credits. A brand-new team will go blazing into action, and in the far future, vast new Andrew Pixley Archives will form in the void.
But frankly, even I don’t care about me - this is all about Peter Capaldi. I saw him at the end, you know. The very last shot you see of him as the Doctor is in fact (brilliant scheduling by amazing producer, Pete Bennett) the very last thing Peter did on the show. Just as popping out the TARDIS and confusing Strax was the very first thing he did in Deep Breath, all those centuries ago. Since then he’s faced down a Mummy on the Orient Express, talked down a Zygon war using a couple of empty boxes, punched a wall for four and a half billion years, misunderstood the romantic intent of a puddle, decked a racist, insulted Santa, had a 24-year date in a restaurant, and played gooseberry when Missy met herself. He’s been gentle and fierce and rude and kind, and now with a wave of his hand and a flap of his cuff, he’s striding into the sunset to give it a piece of his mind. Be there for him on Christmas Day - Scotland’s finest in his final hour. He’ll break your heart and save your galaxy, all over again.
It was funny, that last day. I was in the studio for most of it, which is the first time I’ve ever managed that on Doctor Who. Normally, there’s so much else to do - new season to plan, new scripts to write, new stars to find. But now, with my time on the show winding down, with desks falling empty, and computers falling silent, and endless rounds of goodbye drinks, there’s nowhere else for me to be.
Brian Minchin is here today. And we sit and laugh and chat, and marvel at Peter’s extraordinary final performance. Every take is different and beautiful in a new way, and how the hell are we supposed to choose just one? It’s not goodbye to Brian, I’m delighted to say - he’s joining me and Sue at Hartswood Films, and we have dark and mighty plans.
Rachel Talalay, our finale specialist, is directing. She’s come back to see number 12 off into the shades but I very much hope she’ll be directing more Doctor Whos in the future. She keeps hinting that she won’t, though.
“You’re already directing the new one - you’re doing the regeneration!”
“Yes, but apart from that.”
“You probably know who the new Doctor is, and everything!”
“No, I don’t”
“You had a secret dinner with Matt Strevens and Old Chibs!”
“It wasn’t secret!”
“Well, I didn’t know about it.”
“No-one thought to tell you, it was just for people who are… you know…”
“What?”
“Involved.”
I was alright after a bit, and the nurse with the oxygen was very nice.
“Who’s the new Doctor?” I demanded to know from my stretcher, mostly in hand signals.
“I don’t know,” lied Rachel, probably.
“Just the initials.”
“I don’t know.”
“Will you tell me if I cry?”
“You’re already crying.”
“… Would you like ten pounds?”
There’s another goodbye coming up - and frankly it’s right here. My old friend, the wise and kind King of Numbers himself, Tom Spilsbury, is leaving this magazine. It’s funny, we’ve done almost everything in parallel in Doctor Who. He was assistant editor on the mag, while I was an occasional writer for Russell’s era. He became editor only shortly before I became showrunner. And now, at the end, we’re tumbling out the door together. We’ve tumbled out of quite a few doors together, but I’m damned if I’m telling you which pubs. Once a month, for so many years, Tom would remind me that this column was due. No, that’s a lie. He’d remind me several times a month. Towards the end, in a very high voice, with crying. Well, no more! These days are over. Tom’s entirely brilliant era of DWM is drawing to a close with every word you read, my time on Doctor Who is vanishing like breath on a mirror, and this column too is about to pop out of existence.
It’s funny how things you take for granted just disappear, isn’t it? That school you went to every day and then never go back to, that friend you part from laughing and never see again, all those doors that click behind you without you knowing they’re closing forever. I first wrote Doctor Who in 2004, and I very much hoped I’d get to write it again. Then I wrote more, and then so much more, until I thought it might go on forever. I remember at some awards dinner, telling Brian I loved my job so much I couldn’t imagine ever stopping. In other more melancholy moments I knew that everything ends and wondered what the very last words I’d ever write about Doctor Who would be. Well, the time has come, and here they are.
Steven Moffat’s feelings (supported by Richard Curtis) on a woman Doctor in the 1990s, from the Comic Relief Uncovered behind the scenes feature for The Curse of Fatal Death (x)
I lost like ten followers over celebrating the casting of the 13th Doctor. And although I am not really sad to see them go, I can’t help but feel somewhat baffled.
My blog is called “Moffat rocks”. At what point did I ever not give the impression that this was a feminist, equality-, and diversity-supporting blog?
Moffat truly is the master of all book ends. To be honest, I think he kinda sorta lucked out in pulling this one off. But still:
Moffat’s first ever on-screen anything for Doctor Who had the Doctor regenerate into a woman.
Moffat’s last ever on-screen anything for Doctor Who will have the Doctor regenerate into a woman.
And everything in between was him working his butt off so that one day, the idea of the Doctor being a woman would change from parody to reality. And that he really did pull off.
Series ten was the first series after the political tantrum that was the year 2016 - and while Moffat has never exactly been shy to let his position show, this year he and the team around him left no room for misinterpretation: Who we are is where we stand - and where we stand is somewhere to your left. Far, far away from fascism and bigotry. Doctor Who is and always will be a celebration of the diverse, an encouragement for the curious, and a tribute to the young.
Starting With The Christmas Special Of 2016
In the year that saw peace treaties broken and Halloween pumpkins elected, Moffat gave us a proper superhero - cape and all - to fight the threat of brain-hijacked world leaders. The lack of subtlety in that episode was absolutely divine:
“The people will panic, yes. But what about the world leaders? The presidents and kings, the prime ministers and generals? What will they do? What do the rich old men always do when the fighting starts? They'll find the safest place to hide themselves away and send all their young people to die.” -The Doctor (The Return Of Doctor Mysterio)
And this was only the beginning of things to come. The message was on point throughout each and every single episode:
The Pilot: Introducing Bill
Bill is the most perfect character, e-ver. Not only is she the first openly gay companion in New Who, or another much needed poc in the TARDIS, but on top of that she is also an homage to the young generation: Compassionate, brilliant, thirsty for knowledge - and completely screwed over by a narcissistic, bigoted older generation.
Bill almost seems like Moffat’s way of saying: “I see you, young generation, I share your frustration, I am sorry we couldn’t stop it.” Bill was truly written from the heart. And we can tell.
Smile: On Digital Utopias
This episode, written by Cottrell-Boyce, was a reference to the empire-critical satire Erewhon, and it was the first of several episodes to give imperialism a beating.
While in the original novel, machines are banned as something evil, the opposite was the case in Cottrell-Boyce’s updated version: Bots modelling our happiness and well-being through likes and emojis, without adapting to the versatility of human lives. A critical take on social media - and perhaps its role in recent political developments. Bottom line: Likes without discourse are dangerous.
Thin Ice: On Punching Racists In The Face
Oh, how to choose the best part of Dollard’s episode.... Was it the comment on history being a whitewash? Was it the punching a racist in the face? Was it the portrayal of capitalism (risking lives to literally sell shit)? Or was it this absolutely poignant remark by the Doctor about human progress:
“Human progress isn’t measured by industry. It’s measured by the value you place on a life. An unimportant life. A life without privilege. The boy who died on the river, that boy’s value is your value. That’s what defines an age, that’s… what defines a species.” - Twelfth Doctor (Thin Ice)
Awesome, awesome episode, @carrionlaughing. (Seriously, I see dollard-rocks blogs in the future...)
Knock Knock: Who’s There? Certainly Not Affordable Accommodation.
Compared to Thin Ice, this episode by Bartlett may have been a bit on the lighter side when it comes to political messages, but it did not go by without addressing yet another problem of the younger generation: the impossibility of finding affordable accommodation.
“What do other people do?“ “Other people have money.“ (Knock Knock)
Oxygen: The Cost Of A Human Life
Yet another take on capitalism, this time by Mathieson. While this one was totally on the nose it was also extremely effective. The message: A capitalism that fails to recognise the value of a human life will suffocate us. Hear hear.
Extremis & co: Fake News Festival
And then there was that three-parter (Moffat, Harness, Whithouse), the mid-season climax that was a full-on tackle on fascism. On how it preys on humanity in times of crisis. On how it manipulates facts and lulls you in a false sense of security. On how it gradually robs you of both, your identity and your sense of reality.
And the message is: I love, therefore I am. If you cannot be sure of who you are, you can be sure of being kind. Without hope, without witness, without reward. Kindness wins. Love wins. It is quite possibly the most relevant message Doctor Who has ever had.
Empress Of Mars: On Being British
The three parter was followed by a good long look in the cultural mirror. Gatiss’ Empress Of Mars was one merciless portrayal of Victorian narcissism. Ignorant, self-righteous, greedy criminals, the Victorian soldiers in this episode had no concept of sharing or overstepping boundaries.
The reference to Robinson Crusoe’s “Friday” was particularly well done in this context. The soldiers’ decision to name the Ice Warrior Friday, without even considering that he may actually have a name, stood in an uncomfortable juxtaposition to the Doctor’s extensive knowledge of the proud and ancient Ice Warrior race, emphasising the racist nature of a literature classic that we still cherish today. Ouch. Bloody well done, Gatiss!
The Eaters Of Light: On The Responsibilities Of Future Generations
Aside from seriously awesome LGBTQ+ and female representation, this episode also came with more jabs at imperialism (the Scottish way), and revolved entirely around a young generation, once again having to sort out the mess they have been left with.
They are the robbers of this world. When they've thieved everything on land, they'll rob the sea. If their enemies are rich, they'll take all they have. If their enemies are poor, they'll make slaves of them. Their work is robbery, slaughter, plunder. They do this work and they call it empire. They make deserts and they call it peace. (Karn - Eaters Of Light)
World Enough And Time/The Doctor Falls: On Conversion And Kindness
Oh Moffat, please don’t go!!! Approaching the end of Bill’s story, of Twelve’s life, and sadly, the end of Moffat’s era - this series finale came in multiple heart-breaking layers. There was the incredibly powerful theme of being converted against your own will, of having your pain silenced but not removed, of not wanting to live “if I can’t be me anymore”. They target the children because there is less to throw away. Indeed. How incredibly strong that was.
How brilliant also to use the Master’s deceit in this context. To have Bill lured into the conversion theatre by a person whom she trusted, someone who she thought was protecting her. Someone who spent the entire next episode blatantly misgendering and dehumanising her. So well done.
And then there was Bill’s second theme, namely that of being monstered for looking different, of being shot just for entering the room, and of not having the luxury of getting angry. Bill is a person of colour and a member of the LGBTQ+ community, and this series-finale was dedicated entirely to the hardships of these communities.
And then of course, there was the Doctor’s realisation of what goodness truly means. There is no winning, you might not even make a difference - but what you can do is be kind. That’s all there is to it.
Who I am is where I stand. Where I stand, is where I fall. Stand with me. These people are terrified. Maybe we can help, a little. Why not, just at the end, just be kind? (The Doctor Falls)
“Who I am is where I stand.” In times of media manipulation and alternative facts, this phrase stood out to me the most. It doesn’t matter whom you fight or how you fight them - it matters much more where you, yourself stand. Who or what do you protect? Who or what will you defend until the very end? That is what matters, that is who you are.
And Moffat has shown us exactly who he is and where he stands. Well done, Moff, and thank you.
One of the proudest moments of my theory-blogging existence was when I had correctly predicted that Gallifrey would return. People kept calling me crazy and telling me in very elaborate personal messages that there was no way Gallifrey could ever return. Until it did. (Which is when they instantly turned to “yeah, well, it was a very obvious plot twist.” Sigh.)
Anyway, it seems only fitting that, at the end of Moffat’s era, and after Gallifrey clearly has returned, no less, I have changed my mind: I don’t think Gallifrey is coming back after all.
Foreshadowing In RTD’s Era
If you know my blog, then you know that there were many episodes in RTD’s era that foreshadowed the return of Gallifrey. To name one: The Unquiet Dead, where aliens tried to come to our world trough a rift because their planet had been lost.
What confused me was that in none of these episodes do the aliens ever really return. In fact, a lot of the time, the aliens turn out to be something sinister, and it is the Doctor’s job to stop them before they take over the world.
I struggled with this detail in the past, wondering how that would fit in with the return of Gallifrey. And slowly, a suspicion rose within me that it might not actually be the Timelords who ares returning, but rather something sinister, pretending to be them.
Dead-Gallifrey Foreshadowing, Also In RTD’s Era
And then there are some episodes in RTD’s era that tell a different story altogether. Not just different, they seem to predict the exact opposite of a Gallifrey return. For instance: Planet Of The Dead. (The title actually says it all.)
In this one and only ever “Easter Special”, the Doctor travels through a tunnel and accidentally finds himself on the other side of a wormhole. The planet that lies behind the wormhole should be the home of a thriving civilisation, but instead, there is nothing left. Everybody is dead.
The episode has all the makings of a plot parallel to Moffat’s era: There is a crashed spaceship, there is a tear in the fabric of time and space, there is a planet to be found in a parallel world, and there is a very Clara-like companion, taking charge and ending up travelling in her very own TARDIS-like vehicle. It all fits, except for that one little detail: Everybody is dead.
Putting The Two Together
As most of you know, I have a rather extensive theory about the Matrix, that almost cost me my sanity. Part of my theory was that it was the Matrix (rather than living Timelords) that called out through the cracks in The Time Of The Doctor. It would make sense: A crack in the Universe means it should show up in other worlds as well, right? So why not virtual worlds.
This theory could resolve the apparent contradiction in RTD’s foreshadowing: Gallifrey is really and truly lost. But the Matrix at its core survived. And perhaps, most Gallifreyans managed to survive in it (you know, similar to Silence In The Library).
Hang On, But We Have Seen Gallifrey
It’s true - in Heaven Sent/Hell Bent, we saw the Doctor return to Gallifrey. But did we really? As truly amazing as Heaven Sent was, it didn’t do a lot to reassure me that Gallifrey was really real. First of all, there was the fact that the Doctor spent four and a half billion years in his confession dial (whatever that means), second of all, when he finally arrives at Gallifrey, it has very surreal air about it.
The Matrix is a virtual reality with multiple levels, and you can’t always tell if you’re in it (think Inception). Moffat has hinted at something like this for a long time, what with him and Clara being trapped in various levels of dream states (Last Christmas), the Doctor and Bill being in simulated realities twice, and just the increasing frequency of the Doctor (and Clara) waking up in odd places. So perhaps it wasn’t Gallifrey after all, but a really convincing copy of it.
I haven’t quite figured out whether (and for how long ago) the Doctor has already entered the Matrix. Sometimes I think he has been in there since The Name Of The Doctor (because we never did get an explanation on how he got out of his time tunnel). Sometimes I think he is only entering it now.
Or perhaps, the Matrix is bleeding into reality, so that you just cannot tell the difference anymore? Come to think of it, that might be what the Zygon Invasion was trying to tell us? Can we still be sure that all the people in the Doctor’s world are real?
Either way, I think the Timelords - except for a few strays (Missy, the Master, unexplained museum curators) - are no longer alive but continue their existence as data ghosts in the Matrix.
Timelords Are Red, TARDISes Are Blue, @infinatepotential, This Paragraph’s For You
One of my first big theories ever was about colours in Doctor Who: Red symbolises parallel reality, blue means actual reality, yellow symbolises the impossible. My fellow theory blogger @infinatepotential has adopted this theory and long since made it their own, but has (rightfully) pointed out that red is liekly instead refer to Gallifrey, seeing as Timelords (or rather their military) typically dress in red.
If my (this) theory turns out to be correct, this would finally reconcile our colour theories. If the Timelords are in a parallel world, it would make sense that we only ever see them in red in New Who. It would also mean that anything that symbolises Gallifrey would be red. Does this make sense? It does in my head.
Summary: Gallifrey is lost. Everyone is dead. However, they “sort of made a backup” of themselves in form of the Timelord Matrix, which is currently trying to take over the Universe.
(PS: By the way, that poem is stupid. Violets are f***ing violet, not blue. What were you thinking, English people?)
But Can We Also Talk About The Double-Meta On Bill In This Episode?
For one thing:
Bill being monstered by the whole world, except for the little girl who looks a lot like her (Sorry, somebody else pointed that out but I can’t find the post anymore)
Bill getting randomly shot at, just for walking into a room, because she looks different
Bill not having “the luxury“ of getting angry, even when that anger is entirely justified
But also:
Bill's “conversion”
The Master’s blatant disregard for her correct pronoun (”She’s a Cyberman”)
Heart-warming, super-satisfying end to the story of my favourite companion ever? Check.
First actual on-screen, romantic lesbian kiss in Doctor Who? Check.
Repeating that gut-wrenchingly beautiful nod to Bill Hartnell and Heather McIntyre, uniting them in their afterlife to travel all of time and space together? Check.
Chibnall has gigantic shoes to fill. Bravo, Moff, absolutely well done.
“We had a pact, me and him. Every star in the universe, we were going to see them all – but he was too busy burning them, I don’t think she ever saw anything.”
