Russell T. Davies – Julia H'ere

February 9, 2022July 6, 2023

“It is returning and he is returning and they are returning…”

I will be the first to admit that this post is long overdue. Russell T Davies was announced as the new Doctor Who showrunner months ago, but, since receiving my Masters in Film and Television Studies last May, my brain has been on a bit of a vacation. (I can tell you, however, that crocheting elephants should not be as difficult as the patterns make it.)

I also want to take a quick second to acknowledge and speak about my mental health (because I started writing this blog post in October and am only now finishing it). I love writing, but depression, anxiety, and ADHD sometimes make it difficult to engage in some of the activities I enjoy (we’ve all seen those commercials, right?). The COVID-19 pandemic has had a major impact on everyone’s mental and physical health. Now is the time to be both open about our own issues and supportive of others. You are not alone and neither am I.

A quick summary of the last two years: I had the privilege of studying film, television, and fandom with some amazing professors. It was amazing. I also got married, which was nice too. My Master’s Thesis was on Doctor Who, the very show that first got me interested in television studies way back in 2008 (almost a full decade before I knew what television studies is). One of the chapters in my thesis actually examines the revival’s showrunners, Davies, Steven Moffat, and Chris Chibnall. On September 24 it was announced that when Chris Chibnall steps down as showrunner, RTD will be returning and I have many thoughts on this. (This is my first blog post in 2 years and I have ADHD, so please bear with me.)

First, one thing I recognize is the impact of the COVID-19 pandemic, which is still very much part of our lives. (I feel confident generalizing since this has literally impacted the entire world.) Specifically, it has had a large impact on media production. In the case of Doctor Who, the most recent season was delayed and also shortened from 10 episodes to 8, and now 6. Following the pattern, 13th Doctor Jodie Whittaker will be leaving after 3 seasons (and 2 specials airing this year in addition to the most recent New Years Day special). This means that Davies and his new Doctor will be making their return/debut in 2023, just in time for the 60th anniversary of Doctor Who.

In the 50th Anniversary Special of Doctor Who, Steven Moffat reversed what Davies did from his first episode: he saved the time lords. He also had a huge budget and a global simulcast. When Davies was showrunner, the budget was significantly smaller and no one expected Who to become the global property it is now. While Davies was acknowledged as a fan of the series, this was not a central feature of the marketing, however, it is difficult to ignore as he makes his return. One specific quote regarding his return notes that there is content for him to enjoy as a viewer before he makes his return. Davies has always demonstrated appreciation and respect for the work of previous Doctor Who creatives. When he originally revived the series, he deliberately built on what was already there rather than trying to retcon and I think this is another opportunity for him to do that. I believe that it is because he is a fan that he is making his return.

There is also so much more money to work with. The 50th Anniversary, which occurred 3 years after Davies’s departure, was given blockbuster treatment both in terms of marketing and production values. Since then, the quality has only continued to improve. I would think that it was frustrating to miss out on working on such an exciting anniversary, which is why he will be back just in time for the 60th. There’s also so many more resources to play with. Although Doctor Who was historically a show that works with a limited budget– and Davies can obviously work within those constraints (did you know he invented the psychic paper?!) – a larger budget obviously increases the narrative possibilities.

The show is also no longer just a British staple, but has worldwide relevance now and these anniversaries receive far more attention and build up than they did when Davies first revived the series in 2005 (when there were supposedly only 8000 dedicated Doctor Who fans). Davies is responsible not only for the successful revival, but for one of the best eras of the series (Tenth Doctor David Tennant is still voted favorite Doctor over a decade after his departure). He is also the only showrunner to create a Doctor Who spin-off that lasts more than one season (The Sarah Jane Adventures and Torchwood). To the BBC, Davies has already proven to be a profitable entity. Therefore it makes sense that he would jump at the chance to return and that the BBC would be eager to have him.

Tl;dr: Davies loves Doctor Who and is good at making Doctor Who content, so it makes sense that Davies and the BBC would both welcome this return.

In the weeks following the Davies announcement, I had a lot of thoughts as to what this era would look like, along with many questions. For example, I was certain that David Tennant would not be the Fourteenth Doctor, but that is now rumored to be the case. (Apparently, there is precedence as the Second Doctor, Patrick Troughton almost returned as the Seventh Doctor.) I’ve also learned recently that this year is the BBC’s 100th birthday, which has added an additional element of pomp and circumstance. So I have to wonder how long Davies will be at the helm this time. Will he only be around for the 60th anniversary or will he have another multi-season tenure? The announcement suggests that the latter will be the case, but for some reason, I cannot help having doubts, especially now that David Tennant is rumored to return as the official Fourteenth Doctor.

Regardless of whether or not he is the Fourteenth Doctor, I do believe that Tennant will be part of the 60th Anniversary Special. Actually, I think Davies is going to get as many Doctors as he can. During the 50th Anniversary, Davies had a brief cameo in the short film, “The Five(ish) Doctors,” which was made by Fifth Doctor Peter Davison and depicts his attempts to be part of the 50th Anniversary Special, along with Sixth Doctor Colin Baker and Seventh Doctor Sylvester McCoy. So, I have to wonder if the joke will be on everyone else when they do appear in the next anniversary special. Although, these Doctors could be recast, as was the case with First Doctor William Hartnell.

As part of the 50th Anniversary, the BBC produced a biopic depicting Doctor Who’s creation and starring David Bradley as Hartnell. Later, Bradley went on to play the First Doctor in the Christmas Special “Twice Upon a Time.” So there is precedence– although the First Doctor was also recast in the 20th Anniversary Special, following Hartnell’s death. I don’t think it would be surprising if the only recast Doctors were those whose actors have died. With The Sarah Jane Adventures, Davies demonstrated his fondness for the Classic Era, so I can totally see him indulging once again in bringing back all available Doctors (as was also the case during the Classic Era Anniversaries).

I don’t know if this is something we can expect, but I, personally, am hoping for the return of Mark Gatiss both as a writer and as an actor. His most recent Doctor Who performance was in “Twice Upon a Time” as the implied ancestor of Brigadier Sir Alistair Gordon Lethbridge-Stewart, a recurring Classic Era character, who also appeared in The Sarah Jane Adventures and has been referenced multiple times in the Revived Series. Gatiss is also known to be a huge Doctor Who fan, and has written Doctor Who novels. The episodes he’s written (although they are really hit or miss) include “The Idiot’s Lantern,” “The Crimson Horror,” “Sleep No More,” and “Empress of Mars.” I’m not going to lie, I deeply enjoy Gatiss’s chaotic energy and wondered if he would be the one to take over for Chris Chibnall (although it seems unlikely as he seems to flit around a lot; he also played Mycroft in Sherlock and served as a writer and producer).

I’d also like to see the return of Toby Whithouse (“School Reunion” and “Under the Lake” / “Before the Flood” are two of his) and the more recent addition, Maxine Alderton (“The Haunting of Villa Diodati” and “Village of the Angels”). If I’m going to speculate on writers, I have to wonder if Steven Moffat will contribute. In addition to being showrunner he wrote “The Girl in the Fireplace,” “Blink,” and “Silence in the Library” / “Forest of the Dead” under Davies, which are still considered some of the best. Chibnall also wrote for both Davies and Moffat before becoming showrunner, although I suspect he will likely take a break from Doctor Who for a while (“42” and Torchwood with Davies and “Dinosaurs on a Spaceship” under Moffat).

I am far from the only person speculating on what Davies’s return will bring. From what I’ve read, the BBC will be handing control of Doctor Who over to Bad Wolf, a production company founded by Julie Gardner and Jane Tranter who served as producers in 2005. If that’s the case, I wonder how the budget will be affected. How will Davies’s next era compare to his first, before the pop culture explosion that Moffat played up during his era? Or, to the more subdued, but visually stunning Chibnall era? It’s clear that the showrunner has a huge impact on how Doctor Who is perceived worldwide, and it seems many are looking forward to the next Davies Era.

January 5, 2019July 6, 2023

Doctor Who “Resolution”

This year, Doctor Who aired a special on New Year’s Day. This is not the first time even in recent Who history of this happening. The last episode of Russel T. Davies’s run, “The End of Time, Part Two” also aired on New Year’s Day, concluding the story started at Christmas 2009. This is the first new Who Doctor to air a special on New Year’s Day instead of Christmas.

Going into the special, I was wary. There’s always been something softly appealing about the Christmas-y overtones and background of previous specials. Even when Christmas fades to the back, the episodes have always felt somewhat epic, just a little bit more special than any other episode. I was excited, however, about the possible return of the Daleks. The Daleks have been a Who staple since the first Doctor, appearing in the very second Doctor Who serial ever in 1963-4. The preview seemed to be setting up for such a reveal, but as I was already nervous, I was hesitant to get my hopes up.

Chris Chibnall made a clean break and a fresh start for himself this season by having episodes that did not use any previously introduced characters or planets (save for Earth). While Steven Moffat drew on his time as a writer under Davies, Chibnall decided to distance himself. While this is admirable, it left longtime fans a little off balance, though we could all agree that Jodie Whittaker was an excellent casting choice. In “Resolution” Chibnall brings back the Daleks and UNIT (though he makes a point of removing them as an easy plot device), drawing on the legacy of every previous Doctor Who showrunner.

But, here’s the thing, Chibnall did something that modern audiences hadn’t experienced in quite some time… He made the Daleks…

Scary!

I know, hard to believe, but true! For decades we’ve all heard the stories of how terrifying the Daleks were, of the cliché of children hiding behind the sofa. While there have been some episodes where the Daleks demonstrate why this was the case, and why they are the Doctor’s greatest enemy, overuse has made them a cliché. Both Davies and Moffat have made missteps with the Daleks (Dalek-Humans of Series 3, M&M/Skittles Daleks of Series 5), but Chibnall has avoided this by adding a new element to the Daleks, and has made them a special event, but not using them in Series 11.

I have to commend Chibnall for his choices. I’m really impressed with how he continues to bring his aesthetic in a way that has actually been rejuvenating. He perhaps pulls more on old Who more than his predecessors, both with how he composes episodes, graphics, and music, but does so in a way that is fresh rather than nostalgic.

SPOILERS AHEAD

Without giving too much away, Chibnall begins by setting up the Daleks as the greatest threat in the universe. Something that has been said over and over again throughout Doctor Who, but is this time backed up. Here, an ancient Dalek manages to take control of a human body and demonstrates how and why they are so dangerous. Now, the Doctor attributes some of these skills to the fact that this is a ‘reconnaissance scout’, which is a little bit unsatisfying, but understandable. It might be more frustrating if the Dalek just started exhibiting new powers for no apparent reason. After all, while this is a new showrunner and new Doctor, this is not a new incarnation of the show as a whole, such as when Davies made Daleks fly.

The episode moves a little slowly, but picks up speed as it goes, with the bulk of the conflict, climax, and resolution happening in the last half of the episode. (In fact, the problem is only solved completely in the last four minutes– I was very concerned my recording would end before the episode did.) Like Chibnall’s previous episodes, this one takes place in Sheffield and features familial ties and makes allusions to the working class. The guest characters, however, are archeologists, which I wouldn’t categorize as working class, although their work is directly related to the events of the episode. Once again family, specifically Graham and Ryan’s, is at the forefront, and while it seems a little too easy in some ways, the happy ending is not unwelcome (a way in which Chibnall continues to distinguish Doctor Who from his work on Torchwood).

Overall, I found the episode enjoyable. It was a thrilling return of the Daleks and great fun watching Jodie Whittaker exhibit the terror as well as the swagger that every other Doctor has demonstrated in the face of the Daleks. Her Doctor here is a little more jarring and a little less human, but that bravado evokes the previous new Who Doctors. Unfortunately, we will not be getting new episodes until ‘very early 2020’. My suspicion is that we will see another New Year’s Day special kick off Series 12, but only time– and the BBC– will tell.

December 19, 2018July 6, 2023

Summarizing Series 11

The holiday season is a busy one! So I’m a little late on my blog post(s). Before I do anything else I want to address something truly important…

Doctor Who.

On December 9th, we were treated to the Series 11 finale of Doctor Who, the Thirteenth Doctor’s first, but certainly not last, series in the role. This series is critical not only as the first with a female Doctor, but because it is the first with a new showrunner (and with the first new composer since the show was revived in 2015). Months ago, I reviewed the first episode and speculated on what we could see next from Chris Chibnall and crew. Today, I’m following up on that.

In my earlier review, I noted the gritty, industrial quality to the set and lighting in “The Woman Who Fell To Earth”, which is set in Sheffield and features characters native to that region. I mentioned in my earlier that this is significant for two reasons: 1. because it also reflects Chibnall’s background, 2. because it eliminated any questions about Jodie Whittaker’s natural accent, which she uses in the role. I speculated that Chibnall’s Who would reflect the episodes he wrote under Russel T. Davies and Steven Moffat, which included working class characters, often in an industrial setting, and also referenced familial ties. I also wondered if we would continue to see the kind of lighting and colors that reflected Chibnall’s experience with crime dramas. Doctor Who is a show that allows for many different genres and tones, so it would be easy for Chibnall to take the episodes in whichever direction he wanted.

However, he didn’t. While it could always be argued that Doctor Who is its own sort of crime show, I would say that this series was just as procedural (or not) as those prior. The episodes did continue focusing on the working class and familiar relationships, though:

- In “The Ghost Monument” we open with the same gritty, industrial setting that we saw in Sheffield, but it quickly shifts into something a little more foreign. Two of the characters we meet are clearly struggling members of the working class and both make references to their families and what that means to each of them.

- “Rosa” features working class seamstress Rosa Parks and the start of the American Civil Rights Movement. We also get scenes in Rosa Park’s home while Ryan considers what this would mean to his Nan. The Doctor also confronts this week’s villain multiple times in a very Stand By Me-esque junkyard (with a couple small shout-outs to previous series).

- In “Arachnids in the UK”, we meet Yaz’s family, including her mother, who works at a hotel. Yaz’s mother is a member of the service industry while we are treated to Chris Noth’s (Sex & the City, Law & Order: Criminal Intent) portrayal of a Donald Trump-like figure (with a similar eye on the Presidency).

- In “The Tsuranga Conundrum”, two key characters are essentially interstellar EMTs, another working class job. While Ryan struggles with feelings about his father, the other patients include someone pregnant, but unsure if they want to keep the child, and a brother and sister at odds. Familial relationships come into play for not only the patients, but for Ryan as well (something that happens throughout this series).

- “Demons of the Punjab” takes place during the partition of India. One of the central characters is Yaz’s grandmother, who is about to get married. In the past we’ve had Who episodes that focus on the start of big historic events, or from the point of view of those who do the decision making. In many ways this reminded me of New Earth in “Gridlock” (series 3, episode 3). In “New Earth” (series 2, episode 1) we are taken to New Earth and interact with the upper class, while in “Gridlock” we see New Earth from a more working class perspective. Here, we see the effect of partition at the most basic level. “Demons” also features a misunderstood villain (possibly with connections to the finale– something I only realized as I was writing this) and conflict between family members throughout.

- “Kerblam” was one of my favorites this season. In it, the Doctor and her companions investigate Kerblam, Who‘s version of Amazon. It requires them to go work in the warehouse with the rest of the working class, where we meet characters that are estranged from their families in some way. The main reason why these characters are estranged relates directly to the fact that they are working class/working at an Amazon-like warehouse.

- “The Witchfinders” depicts a small village in 1612 that is currently experiencing a literal witch hunt. These small, not even working class, but farmers, are visited by King James I. A key component of the conflict is family members turning on each other.

- “It Takes You Away” is an episode that focuses solely on a family. We don’t know much about their background, but the family we meet live alone in rural Norway. The aesthetics toggle between a cottage in the woods and a spooky, dark cave with lighting not unlike what we saw in the first episode. Here, Graham’s loss takes the forefront among the Doctor’s companions.

- “The Battle of Ranskoor Av Kolos” brings back that industrial feel from the first episode in full force. It draws a lot on the politics and societal structure introduced in “The Ghost Monument”. One could argue that this is the only episode that does not feature family in someway, or that it’s about the family you make.

I think it’s fair to expect that future episodes will continue to examine the working class, as well as explore family ties.

This series was also quieter than previous ones. From the music to the marketing to the overarching plot, Chibnall’s Who is just more understated than Moffat’s, or even Davies’. Although not as subtle as ‘Bad Wolf’, little hints are dropped throughout the series, with the destruction or movement of planets and continued references to the Stenza, the race of the villain, Tzim-Sha in episode 1. But, while the Doctor faced yet another possible universe-ending catastrophe, it did not feel as grandiose as previous series finales have.

The universe has almost been destroyed in a number of episodes, beyond just series finales. Even this series features an episode where the universe will be destroyed if the Doctor doesn’t do something. “The Battle of Ranskoor” feels a lot like that. It summarizes the series, and gives us a better idea of the aftermath of “The Woman Who Fell to Earth”, but does not feature the magical deus ex machina we’ve seen so many times before. Composer Segun Akinola, who took over for Murray Gold, does not give us big violin heavy choruses, but something that matches the rest of his work for the series, which is simply a lot more subtle.

Overall, I am still incredibly torn about this new Who. I love Jodie Whittaker– for someone who never watched the show, she manages to evoke many previous Doctors in her portrayal– and feel that she was the perfect fit for our first female Doctor. Chibnall’s work as showrunner, while evocative of Torchwood, is still very much Doctor Who. The ups and downs aren’t as dramatic, but it’s still a family show featuring a character who travels semi-randomly through time and space. I really enjoyed the new composer, and while the visuals take a little getting used to, I LOVE the new opening, which draws heavily on Classic Doctor Who, but with a modern spin.

That is I think what best summarizes this series: a little bit of the old and the new. (Not unlike his predecessors, but with different priorities.) The Doctor only spent a couple episodes trying to get her companions home, then interacted with their regular lives again, before they all decided to continue traveling with her. I am very much looking forward to what happens next…

On New Years Day! This episode’s preview strongly hints at the return of the Daleks and while I loved having a break from Daleks and Cybermen, I’m really hoping we get to see how Chibnall handles them. If he doesn’t use them, I do hope he uses another Classic Who villain/race. The original ran for so long and had so many interesting characters, I’d love to see some more of that brought in.

October 13, 2018July 6, 2023

“The Woman Who Fell to Earth”

Going into last weekend’s Series 11 Premier of Doctor Who, I sat down and watched all the regeneration episodes I could get my hands on over the course of a week and a half (list below). While I already really like this new Doctor, there are some things I’d like to discuss regarding Chris Chibnall’s new Who.

1. Regeneration: Something always goes wrong
The Doctor always experiences some form of memory loss and disassociate as their body settles into its new form. Sometimes this can be moments of absent-mindedness, while others experience something closer to amnesia. The Doctor also has a history of collapsing into a slightly comatose or unconscious state (3, 4, 10, 12, 13), often experiencing delirium (4, 5, 7, 12). Doctors Six and Ten went beyond delirium into something erratic and even violent. Aside from a brief period of unconsciousness, the first Female Doctor’s regeneration is very much like their Eleventh incarnation, mostly consisting of memory loss, absent-mindedness, and disassociation. This is somewhat jarring as two of the New WhoDoctors have had much more erratic episodes and longer periods of unconsciousness. Remember, this Doctor’s adventure takes place in the space of one night.

2. Location: The North
In the past, New Who has referred to The North as something deserving of capital letters. In “Rose” (Series 1, Episode 1), Rose makes a point of asking the Ninth Doctor why they sound like they are from The North. In “The Crimson Horror” (Series 7, Episode 11), Strax reminds everyone to be on guard as they are leaving London for The North. It’s not unusual for major cities to look on more rural or industrial areas with some form of derision, but this time all the characters are Northerners.

The Twelfth Doctor was unique for their Scottish accent, although the only episode to take place in Scotland was set in the second century (Series 10, Episode 10 “Eaters of the Light”). Here, the new Doctor’s Northern accent debuts in The North.

Okay, so why is this important? Well, as someone from Boston, I can tell you I’m always excited when something is set here and actually filmed here (Boston is NOT like New York or LA, sorry!). Seeing someone get it right always makes me happy and a little proud. As Chris Chibnall attended University of Sheffield, there’s no doubt that he ‘got it right’. Additionally, with it becoming more common for Doctors to use their natural accents (the actor’s natural accent), setting the series opener in Sheffield eliminated any questions about the Doctor (Jodie Whittaker’s) because they all have Northern accents. It’s something that has been taken advantage of in previous incarnations. When their brain is already scrambled, it’s one less thing to worry about.

3. Building a Sonic: Something new!
The origins of the Sonic Screwdriver has not always been clear. Both Eleven and Twelve were gifted Sonic Screwdrivers by the TARDIS, but where Nine got his (and where Twelve got the Sonic Glasses) is something of a mystery. This is the first time we’ve seen a Doctor building their Sonic Screwdriver. Showing the Doctor building one accomplishes a few things. First, the emphasis that it is made of “Sheffield Steel” adds to the Northern pride. Second, it demonstrates a great deal about this new Doctor.

It doesn’t take long for the audience to see that this Doctor is much more charismatic than Twelve and less awkwardly gawky than Eleven. In many ways, they pull on their Tenth persona. However, this Doctor is already shown to be much more hands-on. While the Third Doctor had a lab at UNIT, they seemed to be more interested in observation or tidy science (how often did that suit get ruffled?), whereas this Doctor in their torn clothing doesn’t hesitate to get their hands dirty– in fact, they are rather enthusiastic about how “fun” it will be to build. This makes it clear that this Doctor will be hands-on and resourceful, likely in a way the audience hasn’t seen before.

4. New Wardrobe: Scenes & Significance
Currently, gender politics are a hot-button issue in the United States, so my first reaction to the Doctor in a dressing room trying to decide on clothes was a negative one. However, there is actually a precedent for scenes in which the Doctor chooses a new wardrobe.

How we dress says a lot about us, so it makes sense for the Doctor, upon regenerating, to rethink their wardrobe for something that feels right. As the Doctor said in this episode, ” ” In many ways, choosing new clothes is another way for the new Doctor to set their stage.

In almost every onscreen Regeneration, the audience gets to see how the Doctor finds their new look.

– The Second Doctor goes through a trunk and changes some of his clothes in front of Ben and Polly in “The Power of the Daleks” (Season 4, Serial 3).

– The Third Doctor steals clothes that appeal to him at the hospital in “Spearhead from Space” (Season 7, Serial 1).

– The Fourth Doctor goes in and out of the TARDIS trying to decide on a new wardrobe before finding his signature scarf in “Robot” (Season 12, Serial 1).

– The Fifth Doctor happens upon a cricketer’s outfit hanging on a mirror as he wanders around the TARDIS “Castrovalva” (Season 19, Serial 1).

– The Sixth Doctor and Perri spend time in the Doctor’s closet trying on different things before settling on a brightly colored coat and a cat pin in “The Twin Dilemma” (Season 21, Serial 7).

– The Seventh Doctor again goes through his closet trying on various clothes (including looks preferred by previous incarnations and much to the Rani’s irritation) in “Time and the Rani” (Season 24, Serial 1).

– The Eighth Doctor once again steals from hospital staff– this time, a costume/fancy dress rather than someone’s actual clothes in Doctor Who (1996).

– The War Doctor doesn’t change clothes but does symbolically take up Cass’s bandolier to fight in the Time War in “The Night of the Doctor” (2013).

– The Tenth Doctor spends a portion of a montage rummaging through his closet before finding his signature pinstripe suit and long coat in “The Christmas Invasion” (2005 Christmas Special).

– The Eleventh Doctor once again steals from hospital staff, rummaging for just the right tie-in “The Eleventh Hour” (Series 5, Episode 1).

– The Twelfth Doctor debuts his chosen new look when he returns for Clara at the end of his first episode in “Deep Breath” (Series 8, Episode 1), though it is notable that his costume does not stay consistent during his tenure, deviating from is original look far more than previous Doctors (3, 10).

With these eleven Doctors in mind, it is clear that such a scene is a staple of Regeneration. The only reason the Thirteenth Doctor is in a shop dressing room is because the TARDIS is MIA.

There is also symbolism in the 13th Doctor’s choices
– Her striped shirt contains colors that call back to Tom Baker’s iconic scarf.
– She wears a long beige coat reminiscent of the one worn by David
– Her pants/trousers are cropped short and paired with boots, though they are wide legged to Matt Smith’s costume.
– Her suspenders/braces are in an unusually bright color, but have been part of the costumes of numerous Doctors including Patrick Troughton, Tom Baker, Peter Davison, Sylvester McCoy, and Matt Smith.
– Finally, her shirt, pants/trousers, socks, and even some of her coat is BLUE! Blue like the TARDIS (though not all the same shade).

5. Episode Ending + Next Week Trailer
I was actually a little unsatisfied with this ending until I realized how similar it is to Old Who. In its original run, Doctor Who would frequently experience major TARDIS malfunctions as the Eleventh Doctor explains, “Ooh, I once spent a hell of a long time trying to get a gobby Australian to Heathrow Airport” (Series 7, Episode 11, “The Crimson Horror”), referencing adventures with the Fifth Doctor and companion Teagan. Even in its first ever serial, “An Unearthly Child” (Season 1, Serial 1), Doctor Who makes it clear that the Doctor does not always know how to work the TARDIS. That they do not consistently find themselves lost is a new Who concept, so I’m actually rather excited to see what Chibnall, building on the last ten series/13 years does with it. The trailer for tomorrow’s episode makes it clear that getting the new companions home is going to be the Doctor’s main priority.

Conclusion:
Chris Chibnall’s background (unsurprisingly) has a big impact on the new series. It’s well known that he was a huge fan of the original series, but expresses that in a way that is different from Russell T. Davies or Steven Moffat.

Davies’s Who was about bringing back a beloved classic, so in many ways, a lot of the episodes were love letters to the old series. However, Davies also made the show accessible for a modern audience, increasing the pacing and adding dramatic elements, such as ongoing plot lines, the Time War and the Last of the Time Lords. He also introduced the companions’ families into the mix. All of Davies’ series contain mothers (Series 1&2: Jackie Tyler, Series 3: Francine Jones, Series 4: Sylvia Noble, Specials: The Woman) worrying over their children and their adventures with the Doctor.

Moffat’s goal was to take it a step further, evoking the joy and excitement he felt when watching the original series, while also examining relationships more closely. With Moffat, we see the Doctor fall in love (Madame de Pompadour, River Song), we are given monsters that scare a modern audience (Weeping Angels, Vashta Nerada, The Silence, The Monks). We also get to see more of the companions’ lives outside the TARDIS. He evokes the childish fantasy of going off in the TARDIS for adventures where the Doctor always wins, then being home before anyone notices an absence. His Doctor Who is, in many ways, about wish fulfillment.

From the first episode, it looks like Chibnall is taking the modern elements established by his predecessors, such as family ties, but brings in his own spin. Chibnall’s filmography includes showrunner or writing for not only Doctor Who and Torchwood, but also Broadchurch, Law & Order: UK, and Life on Mars. All three of these programs are crime dramas that don’t hold back on the grittiness or the death– something notable in Torchwood as well. These elements are all present in “The Woman Who Fell to Earth”, not just in the plot or the characters (companion Yasmin Khan is a Police Constable), but in the tone, colors, and lighting. The setting even steps away from the wide socioeconomic range of London, the peacefulness of Leadworth, and the austerity of a University, instead choosing Sheffield which has a much more industrial history, so he doesn’t evoke the poverty that is part of London (like Davies), but instead the gritty, hardworking connotations– which as we see when the Thirteenth Doctor builds a Sonic Screwdriver, could very likely be a trait she shares.

So, what can we expect from Chibnall’s new Doctor Who? With the filmography he has, it would be easy to say that procedural drama will spill over, but when you look at the episodes he’s written for Doctor Who it demonstrates something different. Chibnall’s episodes, such as “42” (Series 3, Episode 7), “The Hungry Earth”/”Cold Blood” (Series 5, Episodes 8-9), “Dinosaurs on a Spaceship” (Series 7, Episode 2), and “The Power of Three” (Series 7, Episode 4) often depict industrial sites/jobs, family members, and/or connections to the world outside the companion’s purview. This is not all that removed from any other Doctor Who episode or serial. My expectation is that Chibnall will continue to evoke the similar tones we saw in “The Woman Who Fell to Earth”, harkening back to Davies-era and even Old Who, and I’m actually really looking forward to seeing what he comes up with!