er, given (IMO) Toby Whithouse has only written one subpar episode (A Town Called Mercy) I find the argument a little invalid, in fact his hit ratio far exceeds either Gaiman (one magnificent episode one shite episode) or Gatiss (though I give Gatiss a bit of leeway as too often he gets lumbered with the shopping list episodes--Victory of the Daleks, Robots of Sherwood). Richard Curtis wrote one episode and it was a corker, whether he could write additional ones of similar quality is up for debate (not that he isn't a good writer, I'm just not sure he's a sci-fi tv kind of writer week in week out, which is what the show runner would need to be. Personally I've liked all of Jamie Mathieson's eps so far. I know a lot of people didn't like The Girl Who Died but, having watched it again this week, I still find it a lot of fun. I need to watch Flatline again as I wasn't too enamoured when I first saw it, but everyone else seemed to love it, and quite frankly Mummy on the Orient Express was bloody brilliant. He really does need to ditch Stephen Thompson though!
The God Complex made no sense when you look at it. Why would the Nimon-thing that was being punished be allowed to draw people in and feed? Vampires of Venice wasn't bad, it was boring. The new two-parter was actually decent, but he didn't have to include that annoying species from God Complex. That's not a good sign. It smacks of RTD's obsession with the Slitheen.
Bah? 1) RTD Used the Slitheen twice, both in the same year. Three times if you count The End of Time, but that was brief and specifically an end of an era nostalgia thing. If you're counting their SJA appearances, RTD didn't write those episodes, or even have much involvement in the show's day to day affairs. 2) How is using an alien species four years after their first and only appearance an obsession?
I was counting his uses in SJA, actually. Did not realize how minimal his contribution was. It is when you only get to write a story each year. Half of his stories since that time have featured the Surrender Bunnies.
A more apt comparison would have been Moffat and the Weeping Angels. They were brought back three years after they were introduced and have since returned once a year, every year, except for last year. Though they are rumoured to return this year.
That's a good point. And they've become worse with every appearance. Although, unlike the Slitheen, they were once fantastic.
Exactly. Moffat has managed to make sure there's no one to replace him but not having a potential successor in place.
Bleeding Cool has a collation of various Who rumors that range from the silly (the thirteenth Doctor has already been cast and will be in the Christmas special) to the possibly plausible (who the next producer might be). I'm intrigued by the rumor that the BBC wanted Toby Whithouse to take over the show for one series, to give Moffat down time.
This is the American in me talking but I fail to see how the BBC can let this cash cow take an unspecified amount of time off-air because the producer also produces another show. Can't the BBC say "do both at the same time or hand one off", or does is the ownership of Who/British teleivision not as straight forward as I think?
FWIW, I agree with you completely. Moffat is a hired gun on the series. As a colleague said this morning, "American shows change producers all the time. The Walking Dead has been through four!"
Well they probably CAN do that, it doesn't mean they necessarily want to! The BBC know very well that both Sherlock and Who are their two biggest properties. Moffat helps run both and is likely currently filling them in on his plans for the next series. Seeing as they have no particular reason to rush (they likely want as much Sherlock as they can persuade Cumberbatch and Freeman to free up time for, and approximately one series of Who a year, so no rush on either count) why alienate Moffat?
Well, there's likely the fear that if they piss Moffatt off too much he might walk from both, leaving them utterly fucked. There's also the very real question of who he hands it off to. There aren't many producers experienced enough that the Beeb could trust to secure the future of the show who are also prepared to take on the fan bullshit.
Really? There aren't any promising producers in all of Britain? You could even expand to other countries but since Who is such a national icon, I don't see that happening. I mean, Moffatt had to have come from somewhere. RTD came from somewhere. Look there. Moffat should really get as much as he can out of Cumberbun & Co. I don't think they'd sign on for another go now that they're pretty enormous stars. Why not? Any shake up at this point is bound to bring in more ratings.
I'm sure there are no shortage of promising producers but do you really think the BBC will hand over a flagship program to some up-and-comer without suitable credentials under his belt?
Wasn't there rumour that they offered it to Chris Chibnall, but he was going to cost too much, then to Howard Overman (and that's why Atlantis was allowed to fizzle out), but he and Moff had a bit of a tiff, so it's unlikely to come to fruition - and then they even went to Toby Whithouse but he offended BBC Wales by shopping The Game to BBC London so he's probably not getting the job. I think they're even trying to shop it to a stand-in showrunner for a year or two to give Moff a break, but people are turning it down. Tbh - with Overman, Whithouse and Chibnall out of the way, your list of possibilities is virtually non-existant. I'd have liked to have seen what Paul Cornell might have done with an actual tv series, but he's busy writing comic books and stuff.
That would be this Bleeding Cool article from last week. I'm curious, when it finally comes down to it, how wide a net the BBC will cast for their next producer and how deep the pocketbook will be. I wouldn't be surprised if they had to go outside the box to find someone -- which, honestly, could be for the best.
BBC really is adverse to risks. Keep in mind, there was serious consideration put into pulling the show just because Tennant was leaving. In fact Tennant was offered a substantial raise to stay for a fifth season. So no, it doesn't surprise me BBC is so hesitant to lose Moffat and doesn't want to piss him off.
Moff and RTD are both a rare mix - longterm fans of the show well-immersed in its history who have had successful TV careers writing both children's television (well, YA by today's terms) and adult drama and comedy. As was said above, there were others but they are either not yet advanced enough in their careers that the Beeb would risk the show with them, or have fallen out with either the Beeb or Moffatt. Or have seen the stress the job causes and decided it's not worth it.