Ranking the Writing Debuts of the Capaldi Era
Connor Johnston counts down his list, then cast your own vote.
“Rose”, “The Empty Child”, “The Doctor’s Wife” … Doctor Who is home to some of the greatest and most confident writers in the history of television, who have each been responsible for some of the most riveting storylines of the last 52 years, and every great writer must start somewhere. So far in Capaldi’s era, five ambitious personalities have made their first contribution to the show, expanding the already respected list of accomplished Who alumni significantly. With Sarah Dollard’s “Face the Raven” having aired last weekend, she has become the final new addition for the show’s ninth series, as such making this the perfect time to reflect on the newer talent we’ve seen grace our imaginations in the last two years.
Firstly, I’d just like to point out that I hold each of these episodes, regardless of their ranking, in extremely high regard. The five writers have each shown a level of tangibility, risk and ambition that are crucial to the show’s continued success. Today’s ranking proved increasingly difficult to order given how it was essentially attempting to order the best of the best. Some rankings may be somewhat surprising to readers today, but I will ask you to keep in mind that they’ve been made following the events of a rewatch and with an attempt to appreciate the best of what each episode offers.
The Woman Who Lived by Catherine Tregenna
This is the first time I’ve had to tackle a ranking where even the lowest option is so excellent that it earns a 9/10. Despite penning various episodes for Torchwood over its first 2 series, this year’s “The Woman Who Lived” was Catherine Tregenna’s debut into an official line-up for Doctor Who. The script itself is incredibly diverse and really stands to showcase someone who deeply understands the ethos of the show and appears as though she’s been writing for it for years.
A lyrical masterpiece, the episode tackles the consequences of the Doctor’s actions and how immortality has the ability to completely change and corrupt a person. As clichéd and tacky as it may sound, the key to a successful episode for me is one that works simultaneously on a range of levels and embodies a number of different meanings; one that is reflective of a thematic hybrid. The beginning of the episode starts off energetically as somewhat of a ‘buddy movie’ – effortlessly fitting in witty moments and comic relief between the drama that envelops the majority of the episode. The focus on its characters works tremendously well to deepen the ethos of the episode, with an abundance of impeccable dialogue and a strong, budding atmosphere. It also commentates on the vulnerability loneliness instils in a person, and despite being Clara-light is really at its core a story about companionship maintaining that life – especially an immortal one – is nothing without someone to share it with.
(9/10)
Kill The Moon by Peter Harness
I’m just going to come out and say it: I love “Kill the Moon”. Furthermore, as hard as I’ve tried to, I really can’t see how the reception of the episode can be so polarizing. It’s an episode that works on so many different levels that many forget to give it credit for. Personally, I found that the episode’s ethos transcends the scientific theory it is based on, as such I don’t wish today’s section to stew on the ‘suspension of disbelief’ debate that discussion usually turns to. However I will say that I’ve never found particular issue with the logic of the episode, be it in-universe or otherwise – and will quite happily go to arms debating the science of the episode at another time. Today, however, I’d like to focus instead on the narrative strength of both the story and Peter Harness’ writing that carries the episode so fondly in my affection.
Firstly, both Courtney and Captain Lundvik are worked into the story incredibly well presenting 2 polar opposites in the form of a matured astronaut made bitter and sullen by the realities of life, and a young student caught up in her own naivety and the wonders of the universe. The threatening and uncertain atmosphere of the episode remains consistently present due to both the inclusion of the ‘spider germs’ and the looming decision that haunts the team. The first of 2 main right-hooks of the episode is the importance the narrative has for the human race through its role in reinvigorating mankind’s passion for exploration and ambition. The second of which revolves around the Doctor and Clara’s personal crisis that concludes the episode and quite powerfully challenges their dynamic and relationship, cementing the framework for their development as a team over the remaining half of the series.
(9/10)
In the Forest of the Night by Frank Cottrell Boyce
Go on then…. Fight me! You may be surprised to see “In the Forest of the Night” not rank at the bottom of the list today – but trust me, you’re no more surprised than I was following my rewatch of the episode this week. Being a person who was utterly perplexed and completely let down by Frank Cottrell Boyce’s first episode for Doctor Who, I had not expected after my rewatch to walk away both incredibly moved and touched after discovering such a beautifully written script. The construction of the episode in its unconventional nature is no doubt one of the main reasons many initially may have felt hard to hold grasp of it. Unusually, “In the Forest of the Night” doesn’t revolve around the actions of the Doctor or his companion, and instead drops them into a situation in which they have no control and influence over the outcome of the plot and tracks their confusion and reactions. The true beauty of the episode lies in the premise of the episode; being that of a young girl so desperate and lost without her missing sister, that she looks everywhere and sees everything, including these ‘thoughts’ that have existed in the fabric of the earth for longer than anything else. These ‘thoughts’ protect the world and preserve its safety; unrecognized and un-thanked.
Cottrell Boyce achieves a perfect balance of tone throughout the episode – implementing a level of comedy through the charismatic personalities of the Coal Hill class, and a sense of threat and energy through the uncertainty regarding both the earth’s survival and Maebh’s safety from the dangers that lurk in the forest. The story also offered one of the final and most sincere representations of Clara and the Danny’s relationship and explores its strength in surviving the tribulations caused by dishonesty. It also offers somewhat of a full circle narrative regarding the Doctor and Clara’s relationship, showing how far the pair has come in their understanding and respect for each other following their more challenging moments toward the middle of the series. In ranking today, I’ve had to force myself to focus on a certain criteria to assess the writer’s broader range of writing ability, however had I focused on the amount of emotional investment the episode conjures up in my reaction “In the Forest of the Night” could have easily claimed first or second place today. Of course there’s no harm in disliking an episode, nor am I suggesting otherwise – however it remains to be said that sometimes when you least expect it to, giving a second or third chance can totally transform the reception of the episode – and finding something to love in a story always feels better than the alternative.
(PS; there is one scene – the reveal of the ‘thoughts’ – that almost has the ability to foil the beauty of the entire premise because they can’t fully be understood, in which subtitles are your best friend!)
(9/10)
Mummy on the Orient Express by Jamie Mathieson
Jamie Mathieson… what a dude! Just what a dude! Since his debut with “Mummy on the Orient Express” last year, both of his returning scripts have impressed significantly and proven his worth. Returning to the topic at hand, “Mummy on the Orient Express” is an episode that (conversely to the previous ranking) is so conventionally appealing, ticking every box when it comes to constructing a solid Doctor Who adventure. Billed as “the Doctor and Clara’s last hurrah”, the episode is such a crucial episode in the pair’s relationship – marking both the moment of acceptance and appreciation by both travelers and showcasing once more the chemistry and affection they have for each other. They were best friends – arguments and all. “Mummy on the Orient Express” established an understanding, a sympathy and a concern that somewhat lacked earlier in their journeys together and incredibly strengthened their bond.
The plot is brimming with twists and mystery –the premise of the foretold working into the episode impeccably to up the stakes of the plot and intensify the atmosphere. The guest characters of the episode are too incredibly used throughout the episode, namely both Perkins and Maisie being written and explored quite impressively in the course of 50 minutes. Finally, the energy of the episode is fuelled by two great and mysterious foes in the form of the Foretold and Gus – who both work to secure the episode as one of the most confident and fulfilling standalone adventures of the show’s recent history.
(10/10)
Face the Raven by Sarah Dollard
Granted it’s been only a few days since “Face the Raven” aired, packed with harsh consequences for all, however none moreso than loved companion: Clara Oswald. The episode will no doubt be remembered for Clara’s death and the justice it played her character in concluding her arc of recklessness and indestructibility in the most fitting (and gutwrenchingly painful) way possible. Regardless of this though, the episode would have still been a success even without Clara’s departure, given that Sarah Dollard embeds so much more praise worthy material in the premise and construction of the episode.
The idea of the ‘trap street’ is one that instantly grabs the audiences intrigue and attention. An outpost for lost and asylum seeking aliens fleeing persecution and hidden within our own blindness is so rife with narrative possibility, one can only hope it’s a setting that shows up again very soon. The invention of the Janus, the Lurk-worms and the Shade also work incredibly well in contributing to the mythic nature of the episode and the Whoniverse itself – all three of them being worked into the plot to great significance seamlessly by Dollard. It remains one of the most charismatic, creative and emotive examples of storytelling in recent history, and for that reason among many others takes the top spot in the ranking today. You can read more of my thought on Sarah Dollard’s debut episode in this week’s 2nd Opinion Review.
(10/10)
Conclusion
You may have noticed that I don’t usually write conclusions for ranking articles, though today I felt that it would be appropriate in a bid to pay justice to the range of talent that the Capaldi Era has introduced. All five of the writers that I’ve explored today have effortlessly embodied the characteristics that have made the Capaldi Era so profoundly amazing – and furthermore make up in my view not only five of the strongest episodes in his impressive two series run, but of the revived series as a whole. They each are filled with a thorough exploration of their characters, examples of unconventional and ambitious concepts, suspenseful plot developments and in their own right deserve to suitably celebrated – which is a clear indicator of just how successful the talent imported into Doctor Who in the last two years have become.
Have Your Say…
You’ve heard Connor’s thoughts but what do you think? Vote in the poll below:
Note: This poll requires you to rank the stories, from your favourite at the top, to least favourite at the bottom. Drag each of them to create your desired order of preference. Mobile and tablet users can directly number them (or try this link).
