But WHY does Idina sound so bad live? I’ve never heard her sound good live…I mean, really. She’s fabulous and wonderful and I love her, but…I can only tolerate her when she’s acting or I’m listening to a studio recording.
Accept the story as given: The Doctors re-write history, save the Time Lords and thus release themselves from the burden of guilt which has haunted the Doctor for hundreds of year.
And yet the story as given also maintains that in saving themselves, they exterminated the Daleks. Genocide.
It seems Moffat’s Doctor suffered not because he committed war crimes, but because he committed war crimes against the wrong people. Moffat’s Doctor is actually quite okay with genocide — not one of his incarnations gives it a second thought here! — provided the right people are slaughtered.
One could actually make a pretty good case that any war against the Daleks is a Just War and that only genocide could lead to victory in it. But Moffat doesn’t make the case; he doesn’t even acknowledge the issue.
The Time Lords are saved and that’s all that matters. Seldom — if ever — has Doctor Who offered such a chauvinistic message as a happy ending.
(Strangely, the episode’s secondary story stands in direct contrast. In it, the Doctor forces humans and Zygons to negotiate a way out of their conflict, insisting that killing innocents is never worth the cost. From that synopsis it seems Moffat must have intended the secondary story as a comment on the primary, but I saw no internal evidence to suggest the parallels were anything but incidental.)
This moral, this philosophical, blindness appears again and again in Moffat’s Doctor Who. Consider the girl (and world) in a refrigerator in the above-referenced “A Christmas Carol” or the glee with which his Doctor informed the Silence he had programmed every member of the human race to kill them “all, on sight” in “The Day of the Moon”.
It is not the fact that Moffat’s Doctor kills that is so problematic; the Doctor has a long history of using violence when nothing else will work. It is that Moffat’s Doctor kills so easily, sometimes with joy and almost always, without acknowledging that there even are moral issues involved.
This is especially ironic given Moffat’s obvious love for the program’s past. Think of “Genesis of the Daleks”, when the 4th Doctor could not bring himself to destroy the Daleks more or less in the cradle, or “The Runaway Bride”, in which the 10th Doctor nearly allowed himself to die after destroying the Racnoss. Ten’s face, as he came to recognize the horror of what he had done is one I can still see in my mind’s eye, though it has been several years since I watched the story.
It is almost enough to make Moffat’s version of Doctor Who seem like another program entirely, an alternate universe’s series, in which might makes right and genocide is fodder for joy and jokes, so long as the “right” groups are the ones on the receiving end of slaughter.
—On first viewing TOTD can seem good, but on second viewing you realise how Moffat!Who is lacking the fundamentals of what the entire rest of Doctor Who had: exploring morality. (X)
Ughhh the truest of tries. Moffat is all surface sensations and never gives a thought to the implications of anything he writes.
"A stage musical adaptation of the short-lived but beloved cult TV series PUSHING DAISIES is being prepped for production according to a new interview with the show’s creator, Bryan Fuller."
EXCUSE. ME. WHAT? WHAT? WHAT?
GOOD GRACIOUS GEESE WHY IS NO ONE TALKING ABOUT THIS?