#moffat rocks

[moffat-rocks]

Moffat - A Good Writer Goes To War

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.

[my-strange-old-book-collector]

Can We Please Talk About All These Little Moments That Are Killing My Poor Heart

I loved The Final Problem so much!!! If nothing else, just for all these little moments of relationship growth between John and Sherlock:

1. John Taking Over For Sherlock

Ugh, the way that John takes over the interview is killing me - not to mention the fact that Sherlock lets him. Sherlock has to deal with childhood trauma, betrayal, and malfunctioning memory all at once, and he doesn’t seem entirely sure as to how to proceed. John takes the wheel like a boss, his condescension for Mycroft making him seem more protective over Sherlock than ever. 

2. “John Stays”

Nuff said. My heart. 

3. Sherlock Trying To Spare John

When Sherlock has to choose either John or Mycroft to shoot the governor, he hands the gun straight to Mycroft. Yes, this is probably also due to some lingering resentment for getting them into this situation. But the whole scene is one big moment of Sherlock being concerned about John’s emotional well-being, and it has Sherlock frequently uttering things like “It’s all right” or “You’re all right?” towards the latter.

4. Sherlock Constantly Checking Up On John

While we’re at the subject of concern about John -  I love how many times Sherlock pauses to ask John if he’s okay. Sherlock has always cared about John, but tends to shove that aside in the heat of a case. In this episode, Sherlock is under more stress than he has every been. And yet we see him constantly prioritise John’s well-being over everything else. My poor, poor heart. 

5. Helping Each Other Up

John being emotional support for Sherlock is nothing new, but it is still a nice little moment - especially because it has an element of role reversal. Sherlock  has pulled John up from rock bottom in the past. Now they are both confident in being each other’s support. 

6. Sherlock Choosing John Over Mycroft - And Mycroft Fully Expecting Him To Do So

Again: ugh. I love many things about this scene, but most of all how readily Mycroft accepts that he stands no chance against John Watson. He even tries to help Sherlock through the inevitable. And when John tries to object, Mycroft makes it clear that this is not John’s decision. He will not let his little brother kill the person he loves the most.

7. And, Of Course, This

Sigh. 

[marauderstiltheend]

Loving the Doctor is like loving the stars themselves. You don't expect the Sunset to fall in love with you back.   - River Song

Hello, Sweetie. // 12th Doctor

Wahhhhh

[moffat-rocks]

So can we now have a 54-year streak of only women being cast as the Doctor?

[moffat-rocks]

Sorry, But We Have Not Talked Enough About Moffat’s Books

I know I bring this up a lot, but seriously, Moffat’s book metaphor is so freakin’ pretty, and I feel I need to address it some more. Since “we are all stories in the end”, Moffat often uses books to represent people, and not seldom people who are no longer with us. And, typical Moffat, the details are what really gets you:  

For Instance Amy’s Novel 

When we meet Clara in series seven, we are reminded by this little scene that Amy, too, has become a story now. And of all chapters in her story, chapter “eleven is the best, you’ll cry your eyes out”, as Clara puts it. 

Indeed, Moff, indeed. 

Or Clara’s Mum’s Book

“101 Places To See” is the title of the book that Clara carries around, because it used to be her mum’s. The memory of her mum is a travel guide through Clara’s life. I love that little detail. 

Then There Is This Little Moment

There is that sweet little reference to River Song when Clara pulls the book “The Time Traveller’s Wife” out of one of the shelves in the TARDIS. 

And Melody Malone’s Book

This we definitely don’t talk about enough! With the departure of Amy and Rory, this is also the end of Melody Pond. They were the ones who called her "Melody”, and without them, that part of River has become a story, the last chapter of which is the farewell of her parents. 

I also have to point out the surname here: According to various sources, the name “Malone” means “descendant/servant of Saint John”, which in itself is a reference to the little “St. John Ambulance” badge on the TARDIS doors. 

The story of Melody Malone is not the story of Melody - kidnapped and raised by the Silence; the story of Melody Malone is the story of Melody - child of the TARDIS.

And, Obviously, River’s Diary

Personally, I think River’s diary does not so much represent River, as it represents the Doctor. Her Doctor. Which is why the diary is empty in The Big Bang, when the Doctor is stuck on the other side of reality.

And when in Let’s Kill Hitler, the Doctor gifts her with a brand-new diary, he is basically saying: I was no one important until now. My life so far has not been worth telling, because my story begins with River Song.  

And now the Doctor is constantly facing the question of who he is, and he is clinging to River’s diary like a security blanket. Whatever he is or whoever he is, being her Doctor is what matters. Her Doctor is the man he wants to be and that is the version he clings to, even when he is blind and cannot read a single line of their story.

And I’m sorry, but I felt this needed pointing out some more. 

[moffat-rocks]

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”)

Bill not wanting to live if she can’t be herself

[moffat-rocks]

Bra-DIS is go, I repeat, Bra-DIS is go!!!

[moffat-rocks]

Speaking Moffat - A Master List

Moffat’s metaphors are so underappreciated, it makes me want to cry! Not only are they incredibly poetic, but also the way they fit together is out of this world. So here is a master list of the five biggest themes I have worked out so far, with special focus on how they are all linked to one another. (Click on the names of the themes to read more about each individual theme.) 

1. The Story Theme

Books are dead people

Libraries are history

“Virtual libraries” are Timelord history (Matrix)

We are all stories in the end and time can be rewritten. Examples are River's diary, Clara’s mum’s travel guide, or Lady Me’s notebook collection. Note that libraries often come with a virtual reality (e.g. in Silence In The Library or Extremis), because the Timelords keep their dead as data ghosts in a virtual world (Matrix). I will come back to this beautiful theme in a moment. 

2. The Music Theme

Music is love

Silence is loneliness

This theme is why the Doctor’s wife’s name is Song. It is also why the monsters who try to stop Gallifrey from returning are the Silence. And I could write about that detail alone for the rest of all eternity. 

But this post is about Moffat’s combination of metaphors, so let me point out Clara here: Clara does not become a story, but a song. The Doctor doesn’t remember Clara anymore, so she is no longer part of his history. But her love is still there. And I love Moffat...

3. The Water Theme

Water is time

Rivers are time streams (running fast)

Ponds are human time streams (slow and limited)

Ice is death (frozen)

Oceans are afterlife (final destination of all rivers)

Rain is rebirth (feeding the springs of rivers)

This is one of my oldest posts and in desperate need for some update (working on that). Examples are, of course, the Pond family and River Song, but also the frozen governess in The Snowmen, and many more. 

And now that you speak Moffat, you can also fully understand the true genius of River’s name: Doctor River Song - “Doctor” “time stream” “love”. The love of the Doctor’s life. Or to be even more precise: Professor River Song (Professor = older Doctor), because when she is introduced in Silence In The Library, she is the love of the life of an older version of the Doctor. (Have I mentioned I love Moffat?)

4. The Shadow Theme

Shadows are virtual reality

Light is actual reality (gnn... not sure about this one)

Being blind is not knowing which one you are in

Examples are the shadow test in Extremis and the light of the Pandorica in The Big Bang. We see it also when the GI is turning off all the lights of London, and we don’t see it yet in Clara, whose name means “bright” or “clear”. But I really do think this might become relevant in the Matrix take-over that I keep predicting.

The shadow theme interacts with the music theme in the form of the Weeping Angels: They are, of course, all about the shadow theme, but what is often ignored about them is the fact that they are silent creatures. I have proposed that the Weeping Angels are people from the Matrix, aka dead Timelords. The fact that they can only move in the dark and are silent support that theory. 

But let us move away from speculation and on to another theme that I just absolutely adore:

5. The Tree Theme

Forests are life. 

Trees often represent life in literature, and it makes sense, as life is a lot like a tree, with all its branches of possibilities and what-ifs. And so it fits that Clara comes into the world on a leaf, or that we find a tree painted in almost every nursery in Doctor Who. (And I think this even goes for Sherlock, doesn’t it?)

But this theme is where it gets crazy. Because, if you remember the book theme from above: Libraries and books are history. And books are actually made out of trees. So the tree metaphor really fits double. Libraries are made out of trees just like history is made out of lives. Am I explaining this right? Because I love it a lot. 

And the thing that distinguishes the forests from the libraries is water. Libraries are bone dry, but forests need water to live. Just like life: Life needs moving time in order to not be history. And that is why the only water in the forest is the river. 

And while we are at the subject of River, do note that she dies in the process of bringing everyone in the Library back to life. River is the water that turns the library back into a forest. And she becomes herself a book in the process. 

And I. freaking. Love. Moffat.