Supposedly we were going to get an all-new series with Matt Smith gone and Capaldi taking over the keys to the Type 40. Did we? I'm not sure - tonally the series was book-ended by episodes that were dark, figuratively and literally, and Capaldi was a triumph but along there way there were episodes that pastiched Doctor Who itself, giving the overriding impression of jaded familiarity.
The efforts of Gatiss and Roberts were predicable and rather depressing, while some of the episodes from newer authors were distinctly Moffatian, perhaps not surprising as the show-runner co-wrote several of them after ditching the planned episode arc late in the day. Fundamentally, Doctor Who is a very Steven Moffat series and it's hard to see that changing in the near future.
There are a few familiar traits here as Moffat increasingly descends into the televisual equivalent of LOLspeak - narrative short-hand strung together with funny bits. In this idiom the audience is a passive receptor of OMG, LOL, WTF? and ;-( moments - where bonkers revelations, juxtapositions and tonal shifts are routinely heralded simply because they are bonkers. Plot functions in these episodes merely as facilitator for high concept notions, with results that are only sometimes satisfying.
Despite all the narrative smart-arsery and bi-polar mood swings, I found myself frequently bored during Season 8. I couldn't find much to believe or invest in so I couldn't latch on to it. In the way that channel-hopping serves to further famish the soul, the step up in hyperactivity left me feeling empty. Very little of modern Doctor Who makes much sense, but before you can start worrying about that, there are a dozen new mysteries to ponder - it's crash-bang stuff that hopes the lingering emoting and laughs override critical faculties.
But Moffat is no fool. There are always questions that require answers; new scenarios that need to be addressed. What next for Missy? How will Clara's journey be concluded? What's up with Gallifrey? Why did the Doctor keep rubbing his arm? What's under the sheet? Will Danny Pink return from the dead like everyone else? Will Cyber-Brig get his own spin-off?
So, yes, there's much to answer - but the same question marks hang over the series and production team for me. Season 8 might have started with a deep breath; for the most part it engendered a heavy sigh.
It's usually at this point that I break up the highs and lows of the series into Caves and Twins - named after Androzani and Dilemma respectively - to signal the good and bad. In this instance I've added a third option...
Death in Heaven
I've had to invent a new genre for these two episodes as I don't feel able to critically assess them. They seem to belong to a meta-genre, so dizzyingly beyond anything else in the series. The last series of Sherlock, which seems to delight in throwing any rules of logic, causality, honesty and narrative in the bin - with sometimes good and frequently bad results - is the only thing I can really compare them to.
Neither story really made any sense, with things frequently only happening to further the plot - Moffat has made no secret of his desire to write simply to ensure people keep watching. In this way I kinda think he's ahead of the curve in that casual viewers will readily dip in and out of programmes on a whim, so any device - whether dishonest, illogical, mawkish, absurd or in dubious taste - is on the table. The fundamentally GIF-, Vine-, Tumblr- and Instagram-friendly nature of the show doesn't do any harm either.
Like Chekhov's Gun, if an aeroplane suddenly appears in Moffat's Doctor Who, you can bet it's going to crash and the Doctor will end up performing a mid-air TARDIS docking. Elements, characters and scenarios are introduced solely for the pay-off they can pack. Kill off beloved recurring character? Sure! Transgendered Timelord descends to Cyber-infested graveyard via Mary Poppins brolly? Why not?! Dead Brigadier reanimated as caring Cyberman saves daughter from decompressed plane by catching her out of the air? Sign me up!
Does it matter that it doesn't make sense? Does it matter that it's tonally incoherent? Does it matter that it's utterly nonsensical and has no internal logic? Does it matter that it's in dubious taste? I don't know.
Personally I don't think Doctor Who has to be like this, but it seems to be working. This is not to say that it couldn't also work by slowing down, breathing and allowing for things to develop more organically. Like Deep Breath did. As it is, stories such as Dark Water and Death In Heaven kind of defy critical analysis, because they defy all normal rules of storytelling.
I view this style of Doctor Who the way I do Magnus Greel feasting on the lifeforce of young unfortunates: the more you do, the more you have to do it and, sooner or later, it doesn't work anymore and there's nowhere else to go but to eat yourself.
The two-parter that finished off season eight was very dark in tone and investigated some new ground. For that I'm grateful, even though I'm not sure I particularly liked it. But for its watch-the-birdie style of dishonest storytelling, emotional blackmail and mish-mash of emotions, tones and elements, it's very much cut from the same cloth as every other end-of-season clusterfuck stretching back to 2005
Several stories impressed me first time around; others grew one me. But these are the episodes that I enjoyed from Series 8 of Doctor Who.
I loved Deep Breath. It made room for characters to breathe and for scenes to play out in their own time. It has some of the best lines and acting in the series and made for an awesome introduction to Capaldi's Doctor, while fleshing out Clara. I thought the phonecall from Matt Smith badly misjudged but overall Deep Breath was funny, scary, surreal and touching.
I hated Into The Dalek on first viewing but, somehow, it grew on me. Ben Wheatley's direction is one thing, Capaldi (natch) another and some beautiful visuals worked a treat. Overall, though, I think the thing I liked best was the Dalek eyeballing The Doctor as it swivelled and then glided away from him, having delivered the most bitchy insult imaginable.
In isolation Listen was a fine piece of work, with only Clara being inserted once again into the fabric of the show that I found a little tiresome. But in amongst a legion of other Moffatian tropes it felt rather familiar.
I liked the creepy first half - and the pleasing circularity of Tony Osoba getting killed off once again in Doctor Who - but the rest of it was only redeemed by Capaldi's playing of the line: "The moon's an egg."
Mummy on the Orient Express
Hated the title; enjoyed a straightforward story that was well told.
Flatline was one of the few times the series felt like it embraced a different tone and direction. It was boldly frightening and rather cruel and thought-provoking - with enough charm and humour to prevent it from simply being grim. And the Boneless - a superb moniker - were properly scary.
The shit ones.
Tired, bored, patronising shit.
The title kinda says it all, really. It wasn't terrible but Time Heist simply didn't hold my attention - I turned it off before the end.
Again, in isolation, The Caretaker would have been a decent filler episode. As it was it was another retread of Gareth Roberts' patented 'Doctor in your flat' set-up, the third in five years by my reckoning.
A stupendous misfire on nearly every level, made even more disappointing because I was looking forward to this most.
I thoroughly expect more of the same, the grinding necessity of a production schedule I expect is gruelling and sapping of creative juices leading to another Moffat-y season next time around.
Next year will be as far from the show's return with Eccleston as The Three Doctors was from An Unearthly Child - or The Dalek Invasion of Earth to Spearhead From Space, if you compare the likely debut of the next series to The Eleventh Hour.
The last comparison is attractive - stranding the Doctor on Earth would be an intriguing set-up for Season 9...
So long Sydney and Verity; bye-bye Billy, Coburn, Hussein, Pinfield and the rest. You didn't invent Doctor Who anymore. Clara Oswald did. That's pretty much what Listen told us - not only did Clara set the whole adventure in motion, she pretty much constructed the Doctor's psyche.
The modern programme's fascination with centring so much of the show around its companions is fairly undeniable, for better or worse. I expect this makes the show more relatable and I also expect that everyone would stop watching the show if we didn't have relatable companions. Except that I don't really believe that this is the case – I suspect another case of received wisdom that isn't really born out by much of the most popular genre television.
Nevertheless, Doctor Who's showrunners can't resist centring their companions, making them the body around which the show revolves again and again and again. Weaving them into the show's mythos - a bit like carving your name into a tree. Rose = Time Vortex Thing. Martha = Global Jehovah's Witness. River = Timey-Wimey Sex Daughter Assassin. Amy = Centre of Universe Or Something. Clara = Impossible Girl. This isn't necessarily a bad thing or a good thing. What it is is a very familiar thing over the last nine years - just like Moffat's love of time-travel predestination paradoxes. And I think familiarity is a significant threat to Doctor Who.
One of the reasons the latest series has disappointed me is that it's been unable to make a break from what's gone before. This still feels like a show that Tennant or Smith could walk straight into, with only a little change in the Doctor's characterisation. A Victorian runaround; a genre parody; a time-travel thriller with a Moffat-Thing. The tones, the styles of storytelling, the baits-and-switches, the timey-wimey, the self-referential mythos... Listen has moments of brilliance but it also feels far too much like Doctor Who past. When Capaldi hisses "LIS-TEN!" he might as well be asking the audience to keep an ear out for the references.
Here's my theory. Doctor Who has survived for so long because the programme itself regenerates. Each new Doctor should basically be a reboot, a rebirth. New actor, new writers and directors, new music, a new vision. This is why fans who clamour for things to ape the more successful eras in the show's history are - for my money - barking mad. It can't, it has to keep going forward, shark-like: sometime for better; sometimes for worse. But it can't stay the same.
Frequently the series regenerates even when the lead does not. In the classic series usually when a new producer and script-editor team came in. And most of the series' problems, when it's got stuck in a rut or hit the buffers in the past, have been as a result of those in charge not observing this fundamental rule, the mid-80s JN-T-Saward era most obviously. And at the moment Doctor Who feels in danger of ignoring this rule.
I liked lots of bits of Listen, despite the fact that it was - as a friend amusingly suggested - Peak Moffat. It looked wonderful, absolutely wonderful. The light and shadow, the shade and colours and texture. Murray Gold's music was not awful. I think the two companions play well together. There were moments of classic Moffat, the stuff he does so very well. And Peter Capaldi.
Capaldi is magnetic – you can't not watch him. Everything he does feels honest, real, raw. Not since early Tom has the Doctor ever seemed so unpredictable, so dangerous. The Doctor feels like someone who might just lead you to a situation where you might just get killed; this is a Doctor to whom all those ridiculous 'fire at the centre of the universe' speeches might almost apply. I wonder how Tom might have appeared back in 1974 to a legion of fans inured to the 'mother hen' style of Pertwee's heyday when I watch the Twelfth Doctor now. I always thought that Capaldi's obvious suitability to the part almost certainly ruled him out; I'm deeply grateful that I was wrong as he is by far the best reason to watch Doctor Who at the moment. But I fear our time with this mercurial Doctor, which has felt a little limited from the start, is being rather wasted.
In and of itself, Listen was almost perfect. A lovely self-contained character piece with a stunning set-up and eerie atmosphere. So small it could be on stage. Like all the best Doctor Who, it no doubt sent all the little 'uns scuttling behind the soft furnishings. And that we didn't necessarily get another Moffat-Thing as the antagonist was probably wise, given the Weeping Angels, Silence, Vashta Nerada and other sense-perception creatures. Like Midnight, an open-ended resolution feels indulgent but it also feels entirely right once in a while. Only this wasn't quite open-ended - despite the care taken to allow for uncertainty and ambiguity, it felt fairly certain that the threat was all in the Doctor's head.
Clara, again, happened to stumble into his timeline and set the ball rolling - this time scaring and consoling a weeping child Doctor in the Gallifreyan barn from The Day of the Doctor. Just parse that sentence for a second. Leaving aside the fact that seeing the Doctor as a child just seems rather ridiculous - it's telling that RTD dismissed a CBBC Young Adventures of Doctor Who-style show as he thought it would diminish the character - we're left with another of Moffat's patented cat's cradles and another situation resolved by a companion's... well, what? Speechifying?
Crossed timelines, back-and-forth in time, loose ends tied up into neat paradoxes and fragile balancing acts, with the happy finish of some gloopy emoting that relies on a love for the show's mythos to pack an emotional punch. In and of itself there's nothing wrong with it and stuff like The Girl In The Fireplace, Blink and Listen are perfectly-formed little playlets that show off the show in its best light.
But the first was eight years ago now and it feels like we've known this form of Doctor Who for a long time. Despite the tonal shift in The Eleventh Hour and what felt like another attempted seachange in Deep Breath, Moffat has shown time and again that he's unable to shake off the same narrative tics. The result is a Hartell historical the week after Terror of the Autons; a Pertwee romp turning up in Season 18; a Holmes-Hinchcliffe gothic pastiche halfway through Trial of a Timelord; a Graham Williams comedy splitting Happiness Patrol and Silver Nemesis.
This is not really a criticism of Moffat per se - it's a criticism of the way that Doctor Who has worked since its return in 2005. By the time showrunners leave, people are thoroughly sick of them; as sick as I suspect Davies and Moffat were and are of the show after several years of full-throttle, seat-of-pants immersion. Five whole years of it with the worst excesses of a well run dry, there on screen for everyone to see. Imagine if John Nathan-Turner didn't simply produce Doctor Who in the 80s, but wrote a third of the episodes too. The current system is insane and we the result on screen over and over.
It's interesting that Moffat wanted to write Listen to prove to himself that he could craft something of that ilk again. It's also worrying that those in charge of the show find themselves in situations where they're creatively spent - pretty much by their own admission - yet so desperate to keep going. While Listen was a quantum leap in quality from the televisual gruel of Robot Of Sherwood, they both feel hewn from the same parlous set-up. The current production office seems out of ideas, jaded and tired - to extend the metaphor we passed peak Moffat at Day of the Doctor and are now desperately wringing out what little there is left.
As with fuel resources, the answer is not more of the same. It's time for another mid-Doctor regeneration. Moffat should go with thanks at the end of the season - and so should Mark Gatiss, Murray Gold, Gareth Roberts, Toby Whithouse, Chris Chibnall, Stephen Thompson, Neil Cross and Jenna Coleman. Not because they're bad at their jobs but because everything has its time.
That's a truth the show has recognised over 50 years. It's one the production office needs to recognise now, lest Peak Moffat become Peak Doctor Who.