A reader posted that under Russel T. Davies, there were consequences to actions, whereas in Moffat, there are none. This viewpoint seems rather curious to me, as I see Moffat not only creating consequences, but making those consequences pertinent to the framework of the episodes, as well. I will grant the reader that the follow-ups to “Blink” were weaker in this area, and I could not support a decision like making Amy Pond have to close her eyes to keep from turning into stone while operating under the same rules that said merely blinking would get her transported to the past. I also didn’t approve of the decision to make the Statue of Liberty a Weeping Angel due to the improbable logistics. However, Moffat has proved a capable and strong show-runner, often because of the consequences he has provided for his characters. Let me explain.
The River Song arc is essentially constructed of strong emotional consequences. Take River’s speech to Rory in “The Impossible Astronaut” when they were in the tunnels about to break into a control room belonging to the Silence. River sets out for the viewer how her relationship with the Doctor has marked her. Because he knew all about her as a young woman (and because of her conditioning and time with her parents), she couldn’t help but fall in love with him. She presents it as a very solid and real consequence to the two timelines running opposite of each other. In spite of its science fiction trappings, Doctor Who trades in the currency of passion. Love is what’s at stake, for people, for races, for ideas. To have the timelines running counter to one another result in an almost fated love is on the highest order of what’s central to this show. The consequence is as important as it gets.
Continuing with River Song, the meta-story of that relationship was seeing the companion role finally consummated after years and years of near-misses. The Classic episodes were every bit as much about love as the new series is, just better guarded and more highly diluted. By the time we hit Pertwee there’s real longing between the Doctor and Jo, and again in Baker with Sarah Jane. That’s proven by her eventual return and reunion with the tenth Doctor. Rory points out that as a male companion, he undergoes somewhat similar feelings by “wanting to impress” the Doctor, and that’s why the Time Lord is dangerous. So while River Song does exist as a stand-alone story, when seen from a wider perspective her journey is a climax for the companion role.
Moffat has designed his seasons as show-runner to be multifaceted and rich. Consequences abound for his characters individually and as their roles within the series. Bigger risks mean bigger fails, and on occasion–as with the latter Weeping Angels scripts–he makes mistakes. His overall record remains strong.
We're All Just Stories in the End 