....when you have no death, when nothing truly has weight or scale, when decisions don’t stick and nobody feels the consequences… it’s hard to care about anything. The stakes on the show feel so low at this point that a once addictive program is unengaging, dull and hollow. Even the 50th special had no real gravitas because we were basically watching a plot be un-done, rather than made. We were watching a character be un-banished, rather than created. For a celebration of 50 years of a television show, it felt awfully like a celebration of a writer who’s only been running it for 4 years. And, perhaps most irritatingly for a Davies fan, the complete erasure of everything that was developed during that previous era.
I don’t think it’s an insult against Davies, though — Moffat does it constantly to himself. Amelia Pond grows up without parents because they were erased by a crack in space and time. When they are restored to her by virtue of yet another giant re-set button, we never see them again. Amy rarely talks about them. You cannot have a character whose parents were taken from her at a young age, who then gets them back — and remembers that she had lost them in the first place — and not see a perceivable change in said character. Similarly, you cannot rob that character of her baby, remove her ability to have children, and have the biggest consequence be that she becomes a model who’s moody with her husband for his own good.
....We can talk for days about Moffat’s other problems as a writer — the sexism, the homophobia — and those are all valid complaints, but what will always be my biggest gripe is his fear of consequences. When you cannot deal properly with grief or loss or change, you cannot write believable characters or interesting stories.
- Sarah Siegel
descensus Averno facilis est