Moo wants to be
positive.
Unless
you’ve been living in a cave since early 2017, you're most likely aware that Doctor Who fandom has been a divisive place to be in over the last few
years. At the centre of it
all, there is one man: Showrunner Chris Chibnall. He’s far from
perfect, and having to follow Steven Moffat (and Russell T Davies before him) was never going to be easy. It’s
certainly a tough standard that’s been set.
But the amount of
rubbish Chibnall has thrown at him often seems unfair. So with that in
mind, I thought I’d take a look at five good things Chris Chibnall
has written in a bid to spread some positivity about the man running
my favourite show.
5. Broadchurch
The show that made
Chibnall the heir-apparent to Moffat’s throne. The debut series of
Broadchurch managed to come out of nowhere in 2013 and
capture the public's imagination. Four years later it was still the
only thing done by a Doctor Who writer that could be used as a
credible case to succeed Moffat as showrunner. Challenges from Peter
Harness and Toby Whithouse simply were not able to compete.
Chibnall’s writing
shines throughout all three seasons of Broadchurch. Admittedly the
second is a weak run but it still proves he was willing to take a
risk and try something different, while the third series showed that
he can own misfires and correct the course. He didn’t just write
another detective drama, instead Chibnall used the trappings of one to
explore the real world implications of what was being investigated.
That’s a really inspired decision, and strong performances from
David Tennant, Olivia Colman, and Jodie Whittaker (among others)
carried that premise to its full potential.
4. Dinosaurs on a
Spaceship and The Power of Three
I’m cheating by
lumping these in together, but both have similar strengths and within
the context of Doctor Who series seven they do go together nicely.
Dinosaurs on a Spaceship reads like a title that came first and story
second. But as it plays out you realise that it’s really a
perfect example of a Doctor Who episode. The sense of childlike joy
and wonder that the series has at its best is thrust right into the
very title of the episode and it spirals on from there, with Chibnall
balancing a big ensemble cast (most of which are completely new) with
effortless precision. He makes it look easy.
The Power of Three, by
contrast, is the big character piece for Amy and Rory before they
leave the show in the next adventure. It’s their last moment of fun
before they go and die! Chibnall crafts a terrific story
that moves from place to place and setpiece to setpiece briskly but
never with any whiplash that a less talented writer would end up
causing. The scene where the Doctor and Amy have a heart-to-heart
besides the River Thames is especially stand-out. “I’m not
running away from things, I’m running to them,” the Doctor tells
Amy. “Then why do you keep coming back to us?” she replies.
Beautiful stuff.
3. P.S.
It’s easy to dismiss
this scene that never got made and ended up existing only as a DVD
extra. Doing that however is a mistake. P.S. is a perfect
moment of closure for the character of Brian Williams, who had become
a fan-favourite – which Chris Chibnall must get a lot of the credit
for, after writing him so well in the two episodes discussed above!
In addition to
providing Brian with some closure, it also gives similar closure to
Amy and Rory by addressing the one lingering plot thread from their
time on the show. It’s a shame that scheduling conflicts meant this was never filmed, but also a testament to Chibnall’s writing
of it that it can have such an impact. Unlike the other examples on
this list, this one is entirely dependent on his script and not the
stellar cast he’s lucky enough to write for.
2. The conclusion to
Torchwood series two
The last three episodes
of Torchwood’s second season are the show at its best, and
Chibnall is the writer responsible for all of them. Take the penultimate installment Fragments for example, finally offering some backstory on
the ensemble cast and hitting all the right emotional notes without
becoming cloying. Following it we have Exit Wounds which pays this
off as two of the team are killed in both suitably dramatic style and in a way
that feels meaningful and not cheap. It’s a terrific ending to
Torchwood in its original form before it shifted to serialised
storytelling.
But before these two
comes Adrift. Where to even start on this one? Torchwood is known for
being sometimes violent and frequently leaving an episode’s cast
dead by the end. In Adrift that doesn’t happen. Instead it looks at
the consequences. Behind every dead body in the sci-fi genre lies a
real human tragedy. This is an episode which dares to explore that
fact by following the story of one woman who just wants closure about
her son. In the end she gets her answer, but decides she was better
off without it. There are no easy answers here. There can’t be. But
that doesn’t make it wrong to ask, and credit to Chibnall for doing
so.
1. Doctor Who
At the time of writing this, Chris Chibnall has been
showrunner of Doctor Who for two seasons. Both have been mixed bags, nobody credible will dispute that assertion. But
looking at the positives what do we see? We see an assured show that
makes concerted efforts to do something worthwhile every week.
Chibnall’s contributions to series eleven are hit-or-miss overall,
but The Woman Who Fell to Earth is such a confident start and
Arachnids in the UK is tremendous fun. Resolution is a joy from start
to end.
Series twelve
demonstrates a willingness to respond to criticism. After accusations
of ignoring the past – not entirely unfounded, granted – he
bookends with a pair of Master stories, one set on Gallifrey with
added Cybermen, casting the first non-white actor in the role. Along
the way he also throws in a whole new Doctor out of nowhere. In
casting Jo Martin, Chibnall becomes the man who gave us the second
female Doctor only one season after the first, and also the
first black one. The subsequent introduction of the timeless Doctors
is also a good thing (which I’ve discussed before in detail here).
There’s also Chris Chibnall's
co-writer credits on Rosa and Can You Hear Me, two very important
pieces of television that address issues of racism and mental health
respectively. Both are very timely and necessary and it’s to his
credit that he has his name attached to both. He didn’t need to do
that. But we should be so glad he did.
Concluding comments
I could have gone into
greater detail on all of these but instead I just wanted to touch on
them briefly so I could cover as much ground as possible. Chris
Chibnall isn’t as good as Davies or Moffat, but that is not a
justifiable reason to dislike him. He’s been doing important and
valuable work throughout his screenwriting career and as fans of
Doctor Who we should be very thankful for him.
I look at my initial
reservations about Chibnall when it was announced he would take over as Doctor Who showrunner, and I can say I was
wrong. He was absolutely the right man for the job. And, on the off
chance he’s reading this, I would like to extend my personal thanks for the work he’s been doing. Thank you, Chris Chibnall.
Keep up the good work.
“Moo” is the pseudonym used by this Doctor Who fan. He can usually be found procrastinating by thinking about Doctor Who. Follow him on Twitter @z_p_moo for more of his unusual takes, but do so at your own risk.
“Moo” is the pseudonym used by this Doctor Who fan. He can usually be found procrastinating by thinking about Doctor Who. Follow him on Twitter @z_p_moo for more of his unusual takes, but do so at your own risk.
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