“Why do you put your self esteem in the hands of complete strangers?”
let’s spend our week nights eating cereal on the floor
when there is a perfectly fine table behind us.
we can go to the movies and sit in the back row
just to make out like kids falling in love for the first time.
we’ll paint the rooms of our house
and get more paint on us than the walls.
we can hold hands and go to parties we end up
ditching to drink wine out of the bottle in the bathtub.
and slow dance with me in our bedroom
with an unmade bed and candles on the nightstand.
let me love you forever.
i don’t like the cold, but
i do like the way the snow
sticks to your eyelashes
and how when you blink it away
like my stomach and i feel
like i am drifting down,
melting against the warmth
of your cheek,
sliding down towards
your chin, wishing i were still
so i could stay
a little while longer.
The Doctor’s dilemma in [The Waters of Mars], as in so many of the best of Davies’ episodes, was a moral one. It wasn’t a problem that could be solved by being clever or using the sonic or the TARDIS to fix everything. There was no winning scenario—the Doctor had to choose the best of two bad outcomes and it hurt to watch him do it. It made us hurt for him, which made us love him all the more. The Doctor knows what fixed points in time are, so can he refuse to save Pompeii? Should he have prevented the Dalek race from ever being born? Was it wrong to destroy the Racnoss, or was it just wrong to take steely pleasure in it? Was it wrong to depose Harriet Jones? There’s a moral question like that underpinning all the best of Who.
There’s very little of this exploration in Moffat’s Who, which creates an Eleven who is that arrogant, dangerous Time Lord Victorious from the end of “Waters of Mars.” He doesn’t have moral dilemmas, he’s not bothered about the consequences of his actions, he doesn’t even pause long enough to worry about the people who might get trampled under his feet or feel bad when innocent bystanders end up as collateral damage. Consider the particularly nauseating example of the solution to the Silence infestation of Earth in “Day of the Moon”: humans being hypnotoaded into being weapons of niche destruction. Perhaps it’s a testament to the vividness of his storytelling, but think about what Moffat has created here: in that world, thanks to the Doctor, every time you or I turn around we might feel a compulsion to splatter open a skull. There’s very little to love about a character with so much power who wields it so carelessly.
Part of what’s so maddening is that Moffat often has the opportunity to explore the moral dilemmas right in front of him and refuses to do anything with it. If there’s a consequence to the Eleventh Doctor’s behavior, Moffat’s hiding it inside a strangely constructed Rubik’s Cube, and we’re no longer convinced he isn’t more interested in playing with the puzzle than finding what’s inside.”
- For Whom the (Cloister) Bell Tolls, Or Why We Hope Steven Moffat’s ‘Doctor Who’ Is An Island
- TVBacon [x
] (via burningupasun