![]() ![]() While Matt Smith and Peter Capaldi's era were marred by criticisms of obsessing with canon minutiae, in truth Moffat was most often playing in his own sandbox, using and twisting pre-existing notions but only ever to power the story at hand. Moffat certainly enjoyed character work too, but his stories were more eyed on the Doctor, questioning the impact he has on companions, villains and the universe. Indeed, the final twist of David Tennant's run was that the " he will knock four times" prophecy referred not to The Master, but kindly old Wilf, who'd been slowly rising in prominence over the past couple of years. His first episode centered not on the Doctor, but Rose, and every companion, even the weaker set, had immense growth that paid off brilliantly in finales. For the former, it was the ability to bring a human core to the drama, seeing Doctor Who flirt with soap-like emotion against the threats of Daleks, Cybermen et al. ![]() The success Davies and Moffat did lie in very distinct approaches. Saxon and the Chameleon Arch). When Moffat took over in 2010, he built on Davies' style, subverting and adjusting it to tell bigger and more impressive stories: the Doctor became aware of the crack in time midway through season 5, with its mystery overt leading up to the Pandorica reveal, while season 6's River Song mystery took the show full-on serial, before Matt Smith's final specials tied up grand questions regarding the Time War and regeneration limits. The season arc was a straight-up twist in Christopher Eccleston's era, with the phrase Bad Wolf following the Doctor and Rose Tyler unspoken during season 1, and made the way for more inventive setups of Torchwood in season 2 (seeing its origins in a Queen Victoria historical adventure before winks and nods later on) and The Master's return in season 3 (" You are not alone", Mr.
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