I’m back and angry…

Hello gentle reader.  Sorry to have been away so long.  December was busy, a virus ran through our house, and then I had to go interstate to visit sick relatives and bereaved friends, and post-trip I was pretty bloody tired.

So what brought me back out again?  What was it that got me all fired up and angry?  What got me so very annoyed that I could not avoid hitting the keyboard?

Steven Bloody Moffat!

So that’s why I love myself. But enough about me. Why do YOU love me?

I read this today – “Steven Moffat has defended criticisms that his stories contain plot holes.

In an interview with BBC Radio 2, Moffat addressed the issue for both Sherlock and Doctor Who and explained that he thinks clever viewers are able to join the dots themselves and don’t always need an on screen explanation.

He said: “I think people have come to think a plot hole is something which isn’t explained on screen. A plot hole is actually something that can’t be explained.

“Sometimes you expect the audience to put two and two together for themselves. For Sherlock, and indeed Doctor Who, I’ve always made the assumption that the audience is clever.”

That’s the whole of it, but here’s a link to the site.

What I dislike about this is the cynical, utterly transparent, manipulative intent of his comments.  What he’s essentially saying is, “No, it’s not that I’m leaving plot holes, it’s that people who criticise my writing aren’t very clever, unlike people who like what I do.”

It’s Moffat attempting his own version of The Emperor’s New Clothes. [1]

He’s broadly attempting to do two things.  One is to make people think twice before criticising him, lest they be perceived as being a bit dim.  The other is to bolster the support of those who enjoy his writing in an uncritical way, by telling them that by enjoying what he does, they must be more clever than those who are critical.

Well, I’m bloody calling him on it. Continue reading

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The Moffat Master Plan – Prelude…

Since coming back in 2005, Doctor Who has become a show based firmly on the Buffy model. An over arcing story for the season, with episodes that build the arc peppered throughout the run, usually building up to a major conflict and/or big bad.

The original series had done arc story-lines before, but generally handled them differently. The very first Hartnell season when viewed as a whole is about the first Doctor learning to be a hero from his human companions. Other seasons had ongoing stories or themes. Season sixteen was all about the Key to Time. Season eighteen had the constant theme of decay and stagnation, and also incorporated two trilogies of stories before it put the universe itself in direct peril for only the third time in the show’s history.

For instance, the arc for season 8 was about how the Master loves being a complete dick to the Doctor. I didn't say it was a complex or clever arc.

For instance, the arc for season 8 was about how the Master loves being a complete dick to the Doctor.
I didn’t say it was a complex or clever arc.

Since coming back, the enforced arcs building to big end of season showdowns have given us the potential end of the universe five times in seven years. Where the original series was contented to simply try to end the series with a solid story, admittedly not always successfully, the new series by its nature has to try to give us a massive, ‘important’ story to finish the season with.

One of the problems with this is the perceived need to build-up to that finale. Russell Davies’ way of handling this was to have a word or phrase pop up throughout the season, keeping the audience guessing until the end where we would then find out what it referred to.

It wasn’t always successful, and as story or arc building goes, it really is a bit light on. It makes a show of knowing where it’s headed, while really not doing much in the way of work toward actually layering hints or clues. Indeed, the very first year Bad Wolf wasn’t originally intended to be anything special. Before the series aired, the fans went nuts over leaked pictures trying to figure out what the graffiti on the TARDIS meant, figuring it had a deeper meaning. Davies decided to start layering it in to bait them, without any real idea where it was headed. The truth is, Bad Wolf originally had no more importance to the show than than being a one-off piece of random graffiti on the TARDIS.

I am Bad Wolf.  I reached this conclusion in a completely illogical way, but I'm allowed to do that because I'm Bad Wolf.  So Blah!

I am Bad Wolf. I reached this conclusion in a completely illogical way, but I’m allowed to do that because I’m Bad Wolf. So Blah!

The problem with constructing an arc is, you have to be on your game. If you’re really going to build up an over-arcing mystery to a satisfying conclusion, one that will hold up to basic scrutiny, you need to think about where you’re headed and plan carefully for that future destination.

Instead of being a show about the adventures and the people the Doctor and his friends meet, it has become a series about the Doctor and his companions. Hence the continual need to have companions who idolise, fancy, or romantically love the Doctor, and the end of season stories often involving things that directly affect members of the TARDIS crew on a personal level, usually leading to unlikely destinies for those characters.

The destinies of the companions these days make some of the surprise sudden departures due to unforeseen romances and the like from the old series look brilliantly restrained.

K9 and Leela elope together leaving the Doctor alone once more.

K9 and Leela elope together leaving the Doctor alone once more.

Doctor Who as a series now isn’t about the stories, it’s about the season’s clues. Fans obsess over any little detail that might have something to do with that season’s arc. All too often stories are treated by fans a means to get the hints to the finale, rather than having a point in and of themselves. The fact that the story may be an excellent stand-alone is considered less important than the arc. Indeed, some stories are badly hurt by having aspects of the arc poorly grafted in.

Once Steven Moffat took over, he made a show of having a better idea of how to layer in hints and clues that would pay off. Certainly his first season had some very clever story-telling scattered and hinted at throughout. But for every bit that pays off and works, there are several other bits that don’t hold together.

Now, in fairness, virtually no series can hold up to close inspection. There will always be bits where things are a bit hand-wavey, or simply don’t add up or hold together. However, in turning Doctor Who into a show where the clues scattered throughout are meant to be of crucial importance, in actively inviting the audience to pay close attention and to treat all manner of things and moments as potentially being vital story elements, it also invites us to be more critical of when these things don’t add up.

Moffat’s storylines are full of glaring inconsistencies. While it’s painted as an incredible layered puzzle, in fact it’s even less well constructed than Davies’ run.

I’m usually the guy who is surprised by all the plot holes and such I haven’t spotted that my friends have. Minutes after watching something, when others are saying, “But what about the such-and-such?” I’m sitting there amazed that I missed the errors that seemed so obvious to others. In fact, it’s become one of my judging criteria – if I don’t spot an issue until after the film or episode is over, I figure they’ve done a good job. But if I spot it while watching it for the first time, if it’s something so glaring that it spoils my suspension of disbelief, then they must have been pretty bloody slack for someone as clueless as me to spot the issue.

I’ve spotted a lot of issues with Moffat’s seasons on a first viewing.

And in going through them to research for this little run of posts, I’ve found even more inconsistencies. So over the next few articles I’m going to run through the season arcs in detail, since the new series wants us paying such close attention.

I’ve suffered for my obsession, and now it’s your turn.

Here are a few of questions that have yet to be answered.

  • When will we see the fall of the Eleventh on the Fields of Trenzalore? Because surely the events in The Name of the Doctor don’t count as the fall…
  • The Silence wanted to stop the Doctor from answering “the question that must never be asked.” His name. But he didn’t answer that question at Trenzalore when asked it, so is that arc now over?
  • Why does the “Most Important Leaf in the Universe” change to a radically differently shaped leaf? (Actually I know the answer to this one, and it’s both really annoying and quite telling)
  • So who was it wanted to blow up the TARDIS in the first place in Pandorica Opens?
  • Who was saying, “Silence will fall,” in the TARDIS?

Except for the leaf, I can actually see a couple of ways to tie these questions together and give some satisfactory answers. And I really hope Moffat does just that. I’d love to have all those elements that have annoyed me be explained or retconned in a way that works.

It’d be nice to have faith in the writing again.

50th Anniversary Trailer Breakdown

Okay, seen a couple of lists about the trailer, some have drawn some pretty long bows, some have missed elements that I spotted.  So here’s my list. I’ve put up framegrabs, then highlighted and numbered most of the relevant bits.  If you click on an image it will jump to a full sized version.

I haven’t always gone for the clearest shot of an object, but this already runs to 19 images and 90 entries total, so I was trying to get the most bang for my buck. With the way I’ve presented it, you should be able to figure out where it is on screen and check for yourself.

But mostly I only cover the elements that I’m fairly certain of, there’s very little supposition in my list, and I debunk (possibly incorrectly) one or two other theories. I did skip one or two shots of Daleks where I found it impossible to narrow down the type or story.  I have no doubt I’ve missed a few things, but I think I’ve covered most of them fairly well.

01

1. The policeman seen in the very first episode, An Unearthly Child. Fred Rawlings was the first actor seen in the show.

2. This bike is potentially one of the most anal retentive bits of continuity.  It appears clearly in some of the set photos for An Unearthly Child, but you can’t see it in the episode.  Or maybe it’s a nod to the bike Tom Baker rides in Shada.  What? You want a bike seen on screen in an episode that was broadcast? Okay, it belongs to Pigbin Josh from Claws of Axos.  Happy?

Continue reading