I saw my first new-Who David Tennant episodes on Netflix while trying to write papers for my master’s degree back in – 2009? 2010?
I became a devoted fan of the Moffat/Smith and then the Moffat/Capaldi eras (well, the first two Capaldi series anyway), and bought those series via iTunes and Amazon. I simply HAD to be part of the conversation as new episodes were released. I ate them up, along with the online reviews, the podcasts, the extras.
I liked the big decisions of the Chibnall era – Jodie Whittaker’s joyful energy, Segun Akinola’s fabulous music (so much more fun to listen to again and again than Murray Gold’s), the new lenses that provided a new look for the show, the companion casting – but the stories … well, I missed the Tesla episode and then totally avoided the Flux storyline. I felt like I didn’t miss anything.
I signed on to Disney+ for the Davies Mach II era and was as hopeful as all other fans – the Tennant/Tate episodes were so fun and, like everyone, I’m dazzled by Gatwa’s style and zazz.
But the stories … why were the best stories of the Chibnall and Davies II eras – “The Haunting of Villa Deodati” and “Rogue,” respectively – written by other writers? (Though I have to say, “Dot and Bubble” is the exception that tests the rule.)
The ineffable magic of the first Davies era is absent in Davies II. Even though he brought the band back together, the creative lightning did not strike twice.
The episodes are sumptuously staged, the acting spot-on, the callbacks to earlier days very welcome and warming, but the stories … well, I have now taken to reading a few trusted reviewers’ opinions first and if they don’t like an episode, I give it a pass. I have skipped more episodes of Gatwa’s second series than I have seen.
I will likely tune in to the finale because that’s what I do, but I think I will be soon signing off from the review sites and podcasts. Time to sign off with a grateful and heartfelt goodbye for all the fun the series gave me and move on.
