Season six of Doctor Who, featuring Matt Smith’s Eleventh Doctor, has concluded, leaving fans with a mix of satisfaction and contemplation. As the dust settles on the interwoven narratives and mind-bending revelations, it’s time to dissect the highs and lows of this particular chapter in the Doctor Who saga. Much like the conclusion of any grand adventure, there’s a bittersweet feeling of farewell mingled with eager anticipation for what lies ahead in the TARDIS’s journey. So, with all the pieces of the puzzle now on the table, let’s delve into a comprehensive review of Doctor Who season six.
In retrospect, season six presented a more uneven landscape compared to its predecessor, particularly in the episodes crafted outside of Steven Moffat’s direct penmanship. This season structure echoed the Russell T Davies era in some ways, where the showrunner typically helmed the overarching narrative and key episodes, while other writers filled in the episodic gaps with varying degrees of success. During the Davies years, Steven Moffat himself often emerged as the standout writer, and in season six, Neil Gaiman takes on that mantle, delivering a story that is undoubtedly a highlight of the season and a strong contender for science fiction accolades.
However, the remaining non-Moffat episodes presented a mixed bag. “The Curse of the Black Spot” seemed to rely heavily on the novelty of placing the Doctor in a pirate setting, but struggled to develop a compelling and logically sound plot. Similarly, Mark Gatiss’s “Night Terrors” followed a predictable formula, failing to deliver genuine scares or innovative storytelling. “The Girl Who Waited” while attempting emotional depth, unfortunately descended into clichés and predictable plot points, especially for seasoned viewers familiar with science fiction tropes. Even the two-part story, “The Rebel Flesh” and “The Almost People,” often feels forgettable, so much so that its contribution to the thirteen-episode season might easily slip one’s mind.
Matt Smith’s portrayal of the Eleventh Doctor in a reflective pose, capturing the thoughtful and sometimes melancholic tone of Doctor Who season six.
On a brighter note, season six also offered moments of brilliance, particularly in its standalone episodes. “The God Complex” stands out as a genuinely chilling and thought-provoking story, exploring psychological horror within the Doctor Who universe. “Closing Time” provided a light-hearted and enjoyable episode, showcasing Gareth Roberts’s talent for breezy and fun narratives, a style he has honed since his early contributions to Doctor Who novels in the 1990s. And, of course, there’s “The Doctor’s Wife,” penned by Neil Gaiman, a universally acclaimed episode celebrated for its imaginative concepts and emotional resonance.
Furthermore, the season benefited immensely from Steven Moffat’s own episodes. While even Moffat’s contributions aren’t immune to scrutiny, his episodes generally operate on a different level of quality and ambition. It’s almost become an accepted notion that a “bad” Moffat episode is simply a Moffat episode that doesn’t quite reach the heights of his best work.
Within season six, even some of Moffat’s less celebrated episodes are still noteworthy. “A Good Man Goes To War,” for example, faced the considerable challenge of introducing a formidable and credible adversary for the Doctor seemingly from scratch. The episode grappled with the task of making the Doctor appear powerful yet still vulnerable, and while it arguably didn’t fully succeed in all aspects, it was an ambitious undertaking. “Let’s Kill Hitler,” another Moffat episode that sparks debate, presented a controversial narrative choice with River Song’s introduction and her immediate sacrifice of regenerations to save the Doctor. The effectiveness of this plot point remains a point of contention among fans.
A dramatic image featuring River Song and the Doctor in a critical moment, highlighting the complex relationship and storyline that defined much of Doctor Who season six.
However, Moffat’s strengths truly shone in the season’s overarching plot and the resolution of long-standing mysteries. The opening two-parter established a terrifyingly ambitious storyline, and the season arc, focusing on River Song and the Silence, ultimately culminated in a satisfying and logical conclusion. The mystery surrounding River Song, a character intricately woven into the Doctor’s timeline, was handled with skill, avoiding prolonged and tiresome teasing. Despite criticisms regarding the focus on a supporting character, River Song’s arc, in essence, is a brilliantly executed, more complex and engaging version of companion storylines seen in previous eras, such as Turlough’s enigmatic background in the classic series. And who could forget the sheer delight of moments like “Pterodactyls Are Vermin–Do Not Feed,” showcasing the whimsical and humorous side of Doctor Who?
Overall, while Doctor Who season six might not have reached the consistent heights of season five for some viewers, it undeniably surpasses seasons three and four in terms of narrative ambition and memorable moments. It sets a promising stage for season seven and fuels anticipation for the upcoming fiftieth anniversary of Doctor Who. Season six, despite its imperfections, reinforces the enduring appeal and ever-evolving nature of this beloved science fiction institution.
