Typing Doctor Who: Victorian Clara (ESTP)

ESTPs:

Flexible and tolerant, they take a pragmatic approach focused on immediate results. Theories and conceptual explanations bore them – they want to act energetically to solve the problem. Focus on the here-and-now, spontaneous, enjoy each moment that they can be active with others. Enjoy material comforts and style. Learn best through doing.

So yesterday I was watching The Snowmen, the 2012 Christmas special which featured Jenna Coleman’s second appearance in Doctor Who, as the Victorian incarnation of Clara. And it struck me as I was watching it that there are some subtle differences in the way Clara’s various incarnations are written. The ones we’ve seen—the original Clara, Victorian Clara, and Oswin—all fit broadly into the same mould, but they’re not the same. For example, the original Clara (Clara Prime?) from 21st Century Britain, was written as a technological illiterate (much like me), but the first of Clara’s incarnations we saw, Oswin (or Dalek Clara), in Asylum of the Daleks, was a technological genius. Victorian Clara, too, was noticeably different from Clara Prime and Oswin, yet sharing much in common in terms of personality.

This should be expected—when Clara entered the Doctor’s time stream on Trenzalore, she birthed thousands of versions of herself throughout the Doctor’s timeline, living thousands of distinct lives in thousands of different places. Personality is partly a result of genetics (nature), but also substantially determined by environment (nurture). How could the various versions of Clara not differ in certain ways? No doubt there are versions of Clara of every personality type running around the Doctor’s timeline, and none, since the MBTI describes human personality, and we know at least one version of Clara was an alien: the Gallifreyan Clara who persuaded the First Doctor to choose his Type 40 Tardis.

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With all that said, I think Victorian Clara is an ESTP. That’s a subtle difference from Clara Prime, whom I typed as an ESFP, and I stick to that typing. (I’ll also tentatively type Oswin as an ENTP, a rather more considerable distinction). Along with the description I linked to above, a good brief description of ESTPs is:

ESTPs are outgoing, straight-shooting types. Enthusiastic and excitable, ESTPs are “doers” who live in the world of action. Blunt, straight-forward risk-takers, they are willing to plunge right into things and get their hands dirty. They live in the here-and-now, and place little importance on introspection or theory. The look at the facts of a situation, quickly decide what should be done, execute the action, and move on to the next thing.

Some celebrity and fictional ESTPs you might know are: Miley Cyrus, Franklin D. Roosevelt, Donald Trump, Madonna, Jaime Lannister (Game of Thrones), Bart Simpson (The Simpsons), Oliver Queen (Arrow), Dean Winchester (Supernatural). And of course, Captain Jack Harkness.

Let’s start with what Victorian Clara and Clara Prime have in common. They’re both perky, flirtatious and outgoing. They’re both daring and have a thirst for action and danger. They’re both cleverer than they let on. Everything Steven Moffat seems to like in a female companion, in other words. But I think they clearly differ in one fundamental respect: Clara Prime is more gentle, more touchy-feely, and Victorian Clara is more hard-nosed and logical. Clara Prime’s emotions are more frequently on show—not in the sense that she’s emotional or irrational (she can be very rational and tough-minded when she wants to), but in that she more readily feels about things, she processes things through her emotional filter, and since she’s an extrovert (an ExFP), her feelings are much more clearly on show (something I’ve learned about ExFP types from knowing quite a few of them).

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Compare Victorian Clara. Victorian Clara’s emotions don’t leak out of her the way Clara Prime’s do. She has feelings, sure—there are a couple of times in the episode when Victorian Clara becomes emotional—but she typically approaches things coolly and logically. She’s an adept problem-solver: the way she figured out what the Doctor’s plan was (to take the Ice Lady up to the cloud) was a masterclass in using quick deductive logic in a crisis situation. See, too, how she responds to happening upon the snow and the Doctor: she wants to understand the snow, and understand the Doctor. She interrogates a random stranger about the snowman rather than dismissing it as something inconsequential, or as her memory playing tricks on her or something. The curious Doctor piques her interest and she follows him all the way to his Tardis in the clouds. She wants to know, to understand. That’s very typical of the Introverted Thinking (Ti) that characterises TP types—the desire to understand and to make logical sense of things. Curiosity.

What I’ve been talking about is what fundamentally distinguishes Victorian Clara, the ESTP, from Clara Prime, the ESFP. Expressed in MBTI terms, it’s the distinction between each type’s primary judgment process: ESTPs use Introverted Thinking (Ti) to make judgments, and ESFPs use Introverted Feeling (Fi). But both share Extraverted Sensing (Se) as their dominant perceptive (information-gathering) process. Se is being attuned to the sensory details of things around you, in the moment. It’s being aware of sensations, colours, tastes, people, activity, beauty around you, and wanting to interact with it all. It’s also taking action in the moment. The example I gave above of Victorian Clara deducing the Doctor’s plan also illustrates this, her ability to react and take action and think coolly in the moment. Crisis and danger don’t fluster her, she thrives on it. That says ESTP all over. Victorian Clara’s Se is also illustrated when she decides on the spot to pursue the Doctor after basically being told to bug off, and in the way she spontaneously kisses the Doctor. The latter, overt (and spontaneous) displays of sexuality, is very Se, and very ESxP. Amy, an ENFP, spontaneously kissed the Doctor too, once, but one thing I noticed about Victorian Clara was how much more physical a person she was than Amy, which indicates to me SP rather than NP.

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One last thing I noted about Victorian Clara is her deftness, as a governess, in caring for Francesca and Digby, Captain Latimer’s children. I think this is illustrative of another point of distinction between Victorian Clara and Clara Prime, between ESTP and ESFP. Although she’s a Thinker, Victorian Clara’s nurturing abilities come from her tertiary Extraverted Feeling (Fe), which is being attuned to the feelings and values of others and being skilled in dealing with others’ feelings. As an extravert, and a well-rounded person in general, Victorian Clara can slip fairly easily into using Fe in her role as a governess, a carer of children, when she needs to. In contrast, FP types like Clara Prime use Introverted Feeling, which, in contrast to the outward, interpersonal focus of Fe, is attuned to the person’s own intrapersonal feelings and values. Victorian Clara’s emotional expression is somewhat affected, because it’s focussed upon others, while Clara Prime’s expression comes off as more authentic and sincere, because it’s focussed upon herself. See my post on Clara (Prime) for more on the way Clara uses Fi.

Typing Doctor Who: Amy Pond (ENFP)

ENFPs:

Quick, ingenious, stimulating, alert, and outspoken. Resourceful in solving new and challenging problems. Adept at generating conceptual possibilities and then analyzing them strategically. Good at reading other people. Bored by routine, will seldom do the same thing the same way, apt to turn to one new interest after another.

(What is this? Read my introduction to my Typing Doctor Who series).

Well, I’ve been re-watching Doctor Who in recent weeks, and I felt the familiar sensation of affection as I reached Series 5 and 6 and got to watch my favourite fictional characters again: Eleven and the Ponds. Amy is my all-time favourite companion, and Eleven is my favourite Doctor. I already typed Eleven (as an ENTP) here, but, with Eleven and Amy fresh in my mind from my rewatching of Series 5 and 6, I couldn’t resist thinking about the type of Eleven’s iconic partner in crime shenanigans too.

Amy, by my reckoning, is an ENFP. In short, ENFPs are excitable and spontaneous free spirits. Like their thinking cousins, the ENTPs, they are energised by the exploration of possibilities and ideas. They are restless and enthusiastic, driven primarily by a need for novelty and exploration. In this way—their overt openness to possibilities and novelty—they’re similar to their sensing cousins the ESFPs (such as Clara and Rose), but, as an intuitive type, ENFPs tend to be more cerebral and intellectually-oriented than ESFPs. Beneath their extroverted enthusiastic, excitable, spontaneous exterior, ENFPs harbour a depth of feeling and passion which, in combination with the intuition and imagination they display to the world, makes them a highly idealistic, compassionate and creative type. They’re adept at inspiring and motivating others, and fluent at navigating social and emotional dynamics. They’re some of the most fun people to be around, and, once you get talking to them, make for absorbing conversationalists. Some fictional and celebrity ENFPs you might know are Robin Williams, Phil Dunphy (Modern Family), Aang (Avatar: The Last Airbender), Willy Wonka, Andy Dwyer (Parks and Recreation).

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If you come to see that Amy is an ENFP, you can understand why the Doctor-companion duo of Eleven and Amy worked so well. They’re both ENxP types who lead with Extraverted Intuition: they are both extroverts energised by the perception of possibilities, the craving for novelty, the flightiness and the lust for exploration. They both have an imaginative turn of mind which manifested in the fairytale, romantic, somewhat fanciful and surreal dynamic of their Doctor-companion relationship (of which the high point was Series 5)—a dynamic which might have ascended into pure fancy and fairytale totally divorced from the reality of Amy’s (and the Doctor’s) life if not for the grounding, sensible influence of Rory, an ISFJ.

You see the tension between Amy’s respective relationships with the Doctor and with Rory in Amy’s Choice: with Rory, the down-to-earth, comfort- and stability-seeking ISFJ, Amy has a contented married life in a quaint English rural village; it’s a life Rory adores but Amy, although she seems to appreciate it (she has inferior Si after all), finds herself feeling restless and bored. Contrast with her life with the Doctor: an unreal and fantastical life of adventure, excitement and danger aboard the Tardis. It’s sort of clear which Amy prefers: her affection for the life in Leadworth is associated with her investment in her relationship with Rory, but it’s obvious she finds more appealing the life in the Tardis:

RORY: I want the other life. You know, where we’re happy and settled and about to have a baby.
AMY: But don’t you wonder, if that life is real, then why would we give up all this? Why would anyone?

AMY: We’re in a time machine. It can be the night before our wedding for as long as we want.
RORY: We have to grow up eventually.
AMY: Says who?

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Consider, too, the way Amy as a child imagined a whole world around her “imaginary friend”, the “Raggedy Doctor”, after a brief encounter with the Doctor one night. She made toys and created stories and let her imagination run wild with the possibilities associated with the strange, raggedy man with his box who invaded her garden one night when she was a child. She imagined an idealised Doctor in her stories and fantasies, the Doctor taking on a whimsical, fairytale quality in her imagination, and imagined that he was one day going to return and whisk her away in his time machine (in spite of, maybe because of, the insistence of almost everyone that the Doctor wasn’t real). All of this—the whimsical imagination, the idealisation, the projection of emotion into fantasy—is so xNFP, and so very much like an xNFP child.

As an FP type, Amy uses Introverted Feeling—she makes judgments based on her subjective valuation of things: good, bad, right, wrong. In this way she’s similar to Clara and Rose, both ESFPs (whom I’ve previously typed), but different from her husband Rory, an FJ type who makes judgments based on considerations of group values and harmony and the feelings and needs of others. In The Almost People she spurned and acted frostily towards the (apparently) flesh Doctor because she recoiled at the idea that her emotional attachment and feelings for the Doctor could or should be transferred to manufactured clones of the Doctor. In The Girl Who Waited the elder Amy initially refused to help herself, because she and the last 36 years of her life would cease to exist, but relented when she understood that it would be cruel to Rory to deprive him of the chance to grow old with the love of his life. Amy is a passionate woman—not overtly so (FP types typically aren’t), her passion and feeling is internal, but there’s no doubt it’s there.

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To end with a note about ENFPs, they’re a magnetic personality who inspire and captivate others with their energy, spontaneity, excitement, ingenuity and charming lack of inhibition. They’re some of my favourite people in the world—my best friend in high school was an ENFP, and I’ve also, er, found myself inexplicably attracted to people and characters of this personality type (he says blushingly). Maybe that’s why I took such an immediate and deep liking to Amy Pond, who will forever remain my all-time favourite companion, and one of my favourite fictional characters. Amy is undoubtedly a fantastic ambassador for this type, and ENFPs should be proud to count her among their number.

5 exciting new shows I’m excited about

There are a lot of upcoming new shows I’m excited about and I’m going to fanboy about all of them and you can’t stop me.


Class

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Obviously. Naturally, with the extended wait between Doctor Who series, I need some new Who-related content to tide me over until Series 10. I’m genuinely excited about Class. I love the concept and, being a new fan of Buffy the Vampire Slayer, I’m really encouraged by the constant comparisons between the concept for Class and Buffy. And, frankly, it’s about time the BBC produced another Doctor Who spinoff. Torchwood was great, but it’s been off the air since 2012 and left a big, gaping Who-spinoff-shaped hole in its place. While we don’t know much about Class yet apart from the bare skeleton of a concept, and the cast, it does look like it’s going to be a show that appeals to grown-ups as well as a younger demographic, much like Buffy did. In that sense it’s sort of midway between Torchwood and The Sarah Jane Adventures in terms of the audience it’s pitched at. I have very high hopes for it, and I’m excited to see where it will go.

Class is being produced by the BBC and will air in October.

Victoria

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Because I need more Jenna Coleman in my life. I’m so excited to see Jenna Coleman in the starring role in a TV drama as high-profile and ambitious as Victoria. There’s no doubt Jenna deserves it. She acquitted herself with high distinction during her run on Doctor Who, visibly maturing into an exceptional actress over her three years’ playing Clara, and I’m really excited to see how she holds herself in what is no doubt the very challenging role of Queen Victoria. The production itself looks amazing, with (if you’ve seen the publicity shots and the trailers) very lavish period detail. Jenna stars alongside a star-studded cast including Tom Hughes, Eve Myles, Rufus Sewell and Tommy Knight. There are a lot of Who alumni involved in this production, too: Jenna is joined by Eve Myles (of Torchwood) and Tommy Knight (of The Sarah Jane Adventures), so there’s plenty for Whovians to enjoy.

Victoria begins this Sunday, 28th August, on ITV.

The Crown

the crown

Another exciting new period drama about a great Queen of England—this one about our own Elizabeth II, which follows the Queen’s life from her wedding in 1947 to the present day. The main reason I’m excited about The Crown is that it features two of my favourite contemporary actors, not only my favourite Doctor, Matt Smith, as Prince Philip, but also Claire Foy in the starring role of Elizabeth II. For those unfamiliar with Claire Foy, I can confirm she’s a brilliant actress who played played a number of minor roles in various series and films before coming to much greater prominence as Anne Boleyn in Wolf Hall and now in this series. I’m incredibly excited to see her in The Crown, maybe even more so than I am to see Matt! Look forward to it. It should be great.

The Crown will air on Netflix beginning 4th November 2016.

A Series of Unfortunate Events

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I loved Lemony Snicket’s A Series of Unfortunate Events books when I was a kid, and I’m so excited that the books are being made into a TV adaptation. I mean the 2004 film was good BUT THERE ARE 13 BOOKS DAMNIT DON’T START A JOB YOU’RE NOT GOING TO FINISH. In contrast, a whole TV series adapting the whole series of books has the capacity to really do justice to the stories (I’m a huge advocate for the adaptation of book series into TV series for this reason). Apart from the fact that it’s being produced by Paramount for Netflix, we don’t know a great deal about the series yet, although apparently filming has finished, so it should be released fairly soon. It stars Neil Patrick Harris as Count Olaf, and child actors Malina Weissman and Louis Hynes as Violet and Klaus Baudelaire. I can’t wait to see it. If you haven’t, I’d definitely recommend reading the books first if you’re going to watch it, not only because the books are amazing, but also because, as with any screen adaptation of a novel, you get so much more out of the screen adaptation if you’ve read the book first.

A Series of Unfortunate Events will air on Netflix.

His Dark Materials

his dark materials

Another one of my all-time favourite novel series, His Dark Materials, is being made into a TV drama by the BBC, and I couldn’t be more excited. I’m thrilled that Philip Pullman’s wonderful trilogy is being made into a long-form TV drama, because, you know, the last time the trilogy was adapted onto screen, in the 2007 film The Golden Compass, it was kind of rubbish. Very rubbish, actually. Philip Pullman’s stories really demand the long-form TV format, so it’s gratifying and exciting to see that they’re finally going to get the treatment they deserve. There are some very impressive names involved in the production, too: it’s being written by Jack Thorne (who wrote the stage production of Harry Potter and the Cursed Child) and produced by Julie Gardner and Jane Trantor (who both oversaw Doctor Who’s return to screen in 2005), which should reassure us that the stories are in very capable hands. Apart from that, though, we actually don’t know much at all about the series. It was commissioned late last year by the BBC, but as far as I know no casting or writing has been done, let alone filming. It may be a while before we see it on our screens.

His Dark Materials is being produced by the BBC.


Which of these upcoming shows are you excited for? Feel free to fangirl/boy in the comments!

Doctor Who’s best speeches | 3-1

Click for: 12-10, 9-7, 6-4 in this series!


3. Eleventh Doctor, The Big Bang

The Eleventh Doctor says farewell to Amelia Pond in this beautiful, pathos-laden little speech before he steps into the cracks in time and disappears from the universe. This is some of the best acting I’ve seen from Matt Smith, I think. He truly, convincingly conveys the impression of the weary, jaded old man as he rambles affectionately at Amy’s bedside, no mean feat for an actor of Matt’s age. It’s a simple, nice little scene but it’s so powerful and emotive and iconic that I think it deserves its place near the top of my list.

2a. Twelfth Doctor, The Zygon Inversion

Come on now. This is the reason we don’t deserve Peter Capaldi. This is the reason Peter Capaldi has rightly been called the best actor ever to play the Doctor. Peter is channelling passion and theatrical genius into every syllable, and that’s what makes this speech the widely acclaimed piece of television that it is. The writers, Steven Moffat and Jamie Mathieson, knew they could give Peter Capaldi an extended, soliloquising monologue like this and that he would pull it off outstandingly. Only an actor of Peter Capaldi’s calibre. Twelve’s words themselves are incredibly moving expression of the Doctor’s visceral abhorrence of war, and, when it comes to his feelings about war and his experiences in the Time War, I think the Doctor bears his soul more in this speech than we’ve ever seen from him before.

2b. Eleventh Doctor, The Time of the Doctor

Why are there two speeches tied for second place, you ask? It’s because I ONLY JUST REMEMBERED THIS SPEECH BEFORE I STARTED THIS POST OH MY GOD HOW DID I FORGET ABOUT THIS ONE I’M SO SORRY. This is the speech you watch on repeat if ever you’re feeling particularly masochistic. It absolutely killed me at the time, and I still find it incredibly gutting to watch, especially so because Matt was my Doctor, and saying goodbye was hard. It’s just a sublimely executed trainwreck of emotions. Matt’s speech is so beautiful, and then “I will always remember when the Doctor was me,” and then, goddamn it, he has a hallucination of Amy, “Raggedy man, goodnight,” and JFC JUST SPARE ME ALREADY. You get the picture. It makes me feel things.

1. Eleventh Doctor, The Rings of Akhaten

Some of the speeches in this list I chose for their emotive quality, some for their narrative or character significance, some for the pure captivating drama and theatrics. I chose Eleven’s acclaimed speech in The Rings of Akhaten because, in a way, it’s a combination of all of these things, and, above all, it’s just a sublime, consummately written, produced and acted segment of television. More so than any of the other speeches on this list, it’s pure art, pure literary flair and brilliance. It doesn’t really serve a critical purpose in the story, which I think is a fairly average episode in general, it’s just the writer, Neil Cross’s, and Matt Smith’s, and, not least, Murray Gold’s, creative talents unleashed, and the result is a sequence of utterly spellbinding, emotional, invigorating television. Matt Smith, of course, is the star of this sequence, and it’s his impassioned, candid performance here that makes this speech—in my opinion some of his absolute best acting during his time in the role.

So that’s my twelve thirteen picks*. Now this is the part where you tell me your twelve 😀

So, to recap

My twelve picks were:

  1. Eleventh Doctor, The Rings of Akhaten
  2. Twelfth Doctor, The Zygon Inversion / Eleventh Doctor, The Time of the Doctor
  3. Eleventh Doctor, The Big Bang
  4. Tenth Doctor, The End of Time
  5. Amy Pond, The Big Bang
  6. Eleventh Doctor, The Pandorica Opens
  7. Eleventh Doctor, The Eleventh Hour
  8. Twelfth Doctor, Flatline
  9. Clara Oswald, Listen
  10. River Song, The Forest of the Dead
  11. Ninth Doctor, Rose
  12. Tenth Doctor, The Christmas Invasion

Honourable mentions

I’m giving honourable mentions to speeches that I probably would have included somewhere on this list if I had actually remembered them in time (lmao I’ve messed this up I’m so sorry 😂😂).


What do you think? Which speeches do you like the most? Do you agree/disagree with my list? Wanna fight about it? Comments are open!

Doctor Who’s best speeches | 6-4

Click here for: 12-10, 9-7, in this series!


6. Eleventh Doctor, The Pandorica Opens

Eleven’s epic speech in the first half of the Series 5 finale was pure bombastic speechifying. He’s swaggering and grandstanding against the assembled malevolent hordes of the universe, and it’s awesome. It’s the archetype of an epic Doctor speech — it’s even recited at conventions by former Doctors to audiences of squeeing fans (no one can quite top Matt, though, although Sylvester McCoy gave it a very impressive crack). It’s ironic because this speech is actually exactly the opposite of what it looks like—it’s so ridiculously over-the-top (but still completely awesome), which is actually the whole point: the alliance of the Doctor’s enemies set this whole thing up as a bluff to distract the Doctor from what was really going on here. That sort of diminishes the significance of this speech—but who cares, really? It’s still amazing, and I love watching it.

5. Amy Pond, The Big Bang

In my opinion, this is one of the most iconic moments of Doctor Who, certainly of the modern series. Try to remember what it felt like watching this for the first time. On first viewing, even on a rewatch, what’s happening here is absolutely spellbinding. It’s a consummately written and produced scene that, for me, stands as one of the single most memorable moments of this show. It’s simply magical. I love the way symbolic images conjure back Amy’s memory of the Doctor, I love Amy’s passion as she’s practically hectoring the Doctor back into existence, I particularly love the way the imagery of the Tardis is used like a magical incantation conjuring the Doctor into being. Most of all I love Karen Gillan’s transfixing performance, which, more than anything, makes this scene.

4. Tenth Doctor, The End of Time

Oh, the feels are strong in this one. Ten’s anguish and frustration at realising he’s being made effectively to end his own life is wonderfully moving and heartbreaking. For me, it’s one of the most emotional sequences of the entire show. David Tennant’s performance is so sublime, so incredibly powerful and gutting. Nearing his final moments as the Doctor, David Tennant delivered some of his greatest acting in the role, and that’s why this scene is remembered by every fan, that’s why it remains just as intensely powerful on the umpteenth rewatch. Words can only do it so much justice. Just watch it. Feel it.

Doctor Who’s best speeches | 9-7

See here for 12-10 in this series!


9. Clara Oswald, Listen

Watching this again just now gave me goosebumps. It always does. It’s a wonderfully haunting little sequence about the power and the virtue of being afraid, overlaid by this beautiful monologue of Clara’s. The controversy about Clara’s agency in “making” the Doctor aside, I think you’ll be hard-pressed to find someone who would deny that the sequence in itself is very powerful and moving, perhaps the best moment in what is already a standout episode. It’s a beautifully rousing message, and it’s articulated so perfectly by Clara in this sequence — I’m just frustrated I couldn’t put this one any higher, but it’s contending with some very stiff competition.

8. Twelfth Doctor, Flatline

You might think this speech of the Twelfth Doctor’s in Flatline is not really a very important speech, that it’s just standard Doctorish flamboyance and bombast, but I think it’s actually hugely significant for the Twelfth Doctor as a milestone in his character arc over Series 8, which is the reason I love it and always get chills watching it. Remember that the Twelfth Doctor began his life agonising over whether he was a “good man”, unsure of his identity and his purpose. Slowly over the course of Series 8 he came to remember who he, the Doctor, was and what his purpose was, culminating in the “I’m an idiot!” speech in Death in Heaven. This speech is an important milestone along the way, being the moment the Doctor comes to terms with and embraces the role he has found himself in, though he might not understand why he has been put in it, as “the man who stops the monsters”. His cold, triumphal fury as he’s banishing the Boneless is enough to tell you all you need to know.

7. Eleventh Doctor, The Eleventh Hour

No explanation needed here, really. This is what I like to call Eleven’s “I am the Doctor” moment (literally), just as Ten’s speech at the end of The Christmas Invasion was his, and Twelve’s speech in Flatline, I believe, was his — the moment the new Doctor casts off the shadow of the previous actor and establishes himself emphatically in the eyes of the audience as the Doctor. It usually actually involves the words “I am the Doctor”, as here. This speech was shorter and punchier than Ten’s speech, but just as, if not more, powerful. The moment Matt Smith walks through a montage of all ten previous Doctors and declares “Hello. I’m the Doctor,” is amazing, chills-inducing stuff.

3 Days, 3 Quotes – Day 3

Day 3, y’all. This has been fun. Thanks again to Blanca for the nomination!

  1. Thank the person who nominated you
  2. Post a quote for 3 consecutive days (1 quote for each day)
  3. Nominate three new bloggers each day

How could I not end on a Doctor Who quote? One of my favourite Who quotes, spoken by the Eleventh Doctor at the very end of his regeneration. Such poignant. Much sad.

Nominations. I’m going to nominate Elliot and Antonio (only if you guys want to do it, of course) because they both liked my two previous posts for this tag and I have a feeling they wouldn’t mind doing it themselves 😉

Hope you’ve enjoyed these quotes. It’s back to Doctor Who for my next post, when I get round to it, and it’s one I think you guys will enjoy.

Typing Doctor Who: Eleventh Doctor (ENTP)

ENTPs:

Quick, ingenious, stimulating, alert, and outspoken. Resourceful in solving new and challenging problems. Adept at generating conceptual possibilities and then analyzing them strategically. Good at reading other people. Bored by routine, will seldom do the same thing the same way, apt to turn to one new interest after another.

This was an easy one, because ENTPs are one of the easiest types to pick. Do you know anyone who speaks predominantly in memes and puns, with whom every conversation feels like an exhilarating rollercoaster ride, and who relishes debating and arguing — about anything — just for the thrill of it? If so, you have yourself an ENTP friend, and you should consider yourself privileged, because they’re one of the rarest, but also the most awesome and engaging types (in my opinion).

ENTPs are ruled by Extraverted Intuition (Ne), which means their heads are constantly brimming with new ideas and possibilities which they can get very excited about, and allows them to perceive connections between ideas and phenomena very quickly and instinctively. Their Ne is supported by auxiliary Introverted Thinking (Ti), which processes and analyses the many ideas that present themselves to the ENTP with internal, subjective logic, making them a very rational and logical, but also profoundly intellectually creative personality.

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It’s pretty clear to me that the Eleventh Doctor (who also happens to be my favourite Doctor), is an ENTP. For one thing, the Eleventh Doctor positively bleeds Extraverted Intuition (Ne). He’s constantly excited by the many new ideas and possibilities that his intuition generates, leaping dizzyingly from idea to idea, leading to his appearing hyperactive. Dominant Ne-users (ENTPs and ENFPs) are very easy to spot because of their Extraverted Intuition, and the way it constantly generates a slew of ideas, which tends to lead Ne-dominants to have a very animated and hyperactive, and often whimsical and child-like, manner. The Eleventh Doctor definitely conforms to this stereotype: he has a goofy and whimsical manner and comes across as unfocussed and excitable. Another great fictional ENTP character characterised by Ne-dominant “goofiness” is Captain Jack Sparrow from Pirates of the Caribbean.

One thing that struck me as a very ENTP thing Eleven did was in Flesh and Stone, where River chided him “Time’s running out!” while they were being pursued by Weeping Angels, and Eleven momentarily scoffed at the remark before becoming captivated by another completely abstract idea that his intuition generated from that innocuous remark of River’s: “maybe time could run out? Maybe time can be unwritten?” So Eleven was distracted by arcane metaphysical ideas in the middle of a life-threatening crisis situation. ENTP af.

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It’s also clear that, frivolous and goofy and personable as Eleven may be, he’s also highly rational and calculating, sometimes coldly so. That’s his auxiliary Introverted Thinking (Ti). Behind those animated, childlike eyes lie cool, rigorous mental processes with which he makes judgments and decisions. In The Girl Who Waited he comes to the conclusion which his logic tells him is the only feasible one — that the elder Amy must be left behind — and, putting sentimentality aside, manipulates and lies to Rory and the two Amys in order to bring about this resolution. In The Big Bang, with some quick and agile mental analysis, he figures out why the Pandorica restored the Dalek, and how he can use the Pandorica, in combination with his exploding Tardis, to restore the rapidly decaying universe. The way he puzzles continuously over Clara, the “Impossible Girl”, in Series 7 is also indicative of Ti in that he simply can’t rest until he understands it, he can’t just let it remain a mystery—a very Ti thing.

Another, more empathetic and sensitive side of Eleven’s is represented by his tertiary Extraverted Feeling (Fe), which makes him sensitive to the feelings of others and concerned about maintaining group harmony. Eleven’s Fe is fairly well-developed, I think. He knows when people need emotional support, and how to give it to them. Eleven is adept at comforting and giving reassurance to his companions and friends. In Vincent and the Doctor he comforts Amy after she becomes upset at finding that, even after all they did for him, Vincent van Gogh still took his own life within months of their visit. His taking Amy to see Van Gogh’s paintings at the Musée d’Orsay and lots of other things she wanted to see is itself a manifestation of his Extraverted Feeling, in his empathy and generosity towards Amy after Rory’s apparent death. His Fe also manifests itself in his need for affirmation, for example, of his fashion choices (“bowties are cool”).

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Eleven also has a darker, brooding, tortured side to his personality which simmers beneath the surface. I think this is a manifestation of his inferior Introverted Sensing (Si), particularly in the way his subjective memories, and the sensations and emotions associated with those memories exert an influence over him. The negative emotions associated with his negative memories (negative because his memories are processed through the subjective, internalised filter of Si) of things like the Time War, his past companions, and his own actions weigh intensely heavily upon him, and create this bubbling well of regret and self-loathing inside of him which sometimes boils over onto the surface. I also think we see him in the throes of a Si-grip in The Snowmen, where, after losing Amy and Rory, he retreats into reclusion and self-hating isolation, spiting the thought of engaging with the world and with new people again, being full of regret over the fate of his two best friends (for which he blames himself).

Steven Moffat’s Top 10 (Part 2)

A few days ago I began counting down my top 10 Doctor Who stories written by Steven Moffat (Part 1 here). Because I wanted to build up suspense and anticipation, and because I’m too lazy to do the whole list at once, I cleverly and conveniently split the list into two separate parts.

So, here it is: my definitive ranking of Steven Moffat’s five best Doctor Who stories.

5. The Eleventh Hour

You really can’t beat The Eleventh Hour as a new Doctor (and companion) introductory episode. There is really no understatement in saying that the first episode of Matt Smith’s run, and of the Moffat era as a whole, is the prototype against which all other introductory episodes will be measured. It does everything it’s supposed to do—introducing the new Doctor and companion, ushering in the new era, and serving as a concise and engaging introduction to the show in general—exemplarily. Sure, the plot itself, about the Atraxi, is a bit insubstantial and generic, but the focus of this episode is, emphatically, not on the plot but on the elements I’ve just mentioned, in particular the introduction of the new leads, which it does sublimely. Its most important moments, therefore, are not the scenes dealing with the Atraxi threat, but the scenes in which we get to learn who our new leads, the Eleventh Doctor and Amy Pond, are, such as that magical, timeless scene between the newly-regenerated Eleventh Doctor and little Amelia Pond.

4. Heaven Sent

It’s been over two months since Heaven Sent aired as the penultimate episode of Series 9, and I’m still reeling from how utterly amazing it is, as an entire package—a piece of writing, production, acting, directing, even music—but especially as an outstanding work of screenwriting. As a one-hander featuring (for all intents and purposes) only one speaking character, the Doctor himself, it is possibly the most experimental and avant garde episode of televised Doctor Who, and certainly on Moffat’s resume. You’d have to go back to the most surreal years of Hartnell and McCoy to find something as remotely experimental as Heaven Sent. The gamble undoubtedly paid off, though, as Heaven Sent is a masterpiece of writing and, indeed, in every department. It’s simply a mesmerising 55 minutes of television, a constellation of screenwriting genius with the equally impressive talents of Peter Capaldi, Rachel Talalay, Murray Gold and others. It proves that, even nearing the end of his Doctor Who writing career, Steven Moffat is capable of creating breathtaking and artistic stories.

3. The Empty Child/The Doctor Dances

There was a time when Moffat was known as the master of terror, a sadist among the Doctor Who writers who delighted in terrifying children. The reputation probably stemmed from this skin-crawling pair of episodes in Series 1, which live up to Moffat’s caricature. These episodes traumatised a generation of pre-adolescents, including myself: I saw these episodes when they first aired when I was 10, and they frightened me so much that I was put off Doctor Who for years, and also caused me contract an irrational fear of gas masks (I’m still a bit uneasy around them). They contain some of the creepiest and most unsettling scenes in the show’s history, and it’s clear, watching them, that Moffat is a master of fright and freaky at work. Apart from the fear factor, though, this story is just exceptionally well-written: never mind great Doctor Who, it’s great television, full stop. It’s a totally absorbing and atmospheric story, and features fantastic instances of characterisation, unarguably deserving of a place among the best Doctor Who stories ever made.

2. Blink

If anyone you know is in doubt of Moffat’s abilities as a television writer, just show them Blink. Justly acclaimed as one of, if not the, best Doctor Who story ever made, it’s a timeless classic whose veneration among fans has not diminished with time by one iota. Nearly a decade later and it’s still as chilling and exhilarating as ever. It’s another perfect exemplar of great Doctor Who as great television in general, a fantastic screenplay and a fantastic piece of sci-fi writing. Blink, of course, introduced Moffat’s ingenious creation, the very creepy Weeping Angels, the most successful and popular Doctor Who monsters since the Daleks, and which, at one point, looked like they might even pip the Daleks for the status of Doctor Who’s signature monsters. Somewhat ironically for one of Doctor Who’s most popular episodes, Blink is Doctor-lite, but instead we get the brilliant character Sally Sparrow, one of the show’s great could-have-been companions. In fact, the conspicuous absence of the Doctor’s presence lends the story exactly the atmosphere of claustrophobia and intolerable suspense that makes Blink such a successful episode. It’s an outstanding credit to Moffat’s creative genius.

1. Silence in the Library/Forest of the Dead

Why Silence in the Library over Blink (or any of the other episodes)? Good question. I agonised over this choice, trying to weigh the episodes’ respective attributes and consider the varied factors that would play into a choice of what makes “the best” Moffat episode. But I always came back to the fact that whatever my choice, it would always be completely arbitrary and subjective, and there is no objective way of choosing a definitive “best” episode. So, in the end, I just went with my favourite.

Silence in the Library/Forest of the Dead is a testament Moffat’s ability to take an idea for a fairly standard base-under-siege story (shadow monsters in a giant library) and develop it into as bold, moody, surreal and emotional a masterpiece as this. Silence in the Library is a perfect showcase of the many tropes of Moffat’s Doctor Who writing that have by now become quite familiar to us. There’s a freaky new monster, the Vashta Nerada, whose fear factor lies in a clever psychological gimmick; intricate and intelligent plotting that ends up blindsiding the audience with a well-executed twist; bold, creative narrative experimentation, including some truly surreal sequences while Donna is stuck inside CAL’s virtual hard drive; and involving and emotional character drama, including the first (and best, at least until THORS) appearance of Moffat’s signature character, River Song, and the beginning of the legendary onscreen relationship between the Doctor and River Song. It all comes together in a thrilling narrative symphony, making for, I believe, the very best of Steven Moffat.

So, in summary…

My ten picks were:

  1. Silence in the Library/Forest of the Dead
  2. Blink
  3. The Empty Child/The Doctor Dances
  4. Heaven Sent
  5. The Eleventh Hour
  6. The Pandorica Opens/The Big Bang
  7. The Impossible Astronaut/Day of the Moon
  8. A Christmas Carol
  9. The Day of the Doctor
  10. The Time of Angels/Flesh and Stone

How does your list compare to mine? Wanna fight about it? If so, leave a comment below.

Steven Moffat’s Top 10 (Part 1)

Having digested the news that our Dear Leader, Steven Moffat, is to retire as Doctor Who showrunner, I have decided to look back on what this remarkable writer has contributed in his career to this remarkable show. I’m counting down my picks for Steven Moffat’s ten best scripts for Doctor Who — although I hope, of course, careful not to be premature about this, that Moffat, in his final series, will deliver yet more astounding writing and that I can say in a little over a year’s time that this list is redundant.

This list is obviously subjective, based on my own opinions and estimations, as there is no objective way to compile a “Definitive Top 10” of anything that can’t be measured. So don’t take this list too seriously if you happen to disagree (as you may) with my picks.

Anyway, without further ado…

10. The Time of Angels/Flesh and Stone

In his first series as showrunner, Moffat brought back his acclaimed creations, the terrifying Weeping Angels, and stuck the Doctor and Amy in a spaceship teeming with them. It’s an exhilarating and dramatic base-under-siege with enemies that were practically made for this format. The suspense and the adrenaline never lets up: it’s a tight and absorbing pair of episodes that do justice to the Weeping Angels’ second ever outing, after their introduction in the sensational Blink. It also has Steven Moffat’s signature flair for engaging character writing, as Eleven, Amy and River Song (and their respective actors, of course) are all at their luminous best. Notable scenes include Amy stuck in a trailer with a Weeping Angel materialising out of a video recording, and Amy stumbling, blind, through the forest while surrounded by Angels.

9. The Day of the Doctor

Doctor Who’s 50th anniversary special was an extravagant, uplifting homage to the show and its fans, indulging shamelessly in the show’s heritage and featuring not just one, but three (four? thirteen?) Doctors. I can’t remember laughing more at an episode of Doctor Who than I did watching Matt Smith, David Tennant and John Hurt perform the hilarious dialogue with each other in this episode. The brilliance of The Day of the Doctor owes much to the novelty of seeing Matt Smith and David Tennant, along with John Hurt, together onscreen as leads, but it’s also an exceptional story in general. It isn’t a sophisticated, artistic work of writing as many of Moffat’s other most acclaimed scripts are, but it’s a jubilant, well-put together and emotionally satisfying celebration of Doctor Who that only a writer with a deep love and reverence for this show could have written. I adore it.

8. A Christmas Carol

Still the best Christmas special by a good length, and, in my opinion, one of the best things Moffat has written for the show. A Christmas Carol isn’t often mentioned among lists of “Moffat’s best”, because, well, it’s a Christmas special and aren’t Christmas specials just light, insubstantial seasonal fluff? Not “real” Doctor Who? Well, yes, generally, but Christmas specials can still be fantastic pieces of writing and production, as I believe A Christmas Carol is, perhaps ironically for the most overtly “Christmassy” of Doctor Who’s Christmas specials. It was an absorbing, heartwarming and very emotional story, a recreation of the eponymous Charles Dickens tale with the unique Doctor Who twist of time travel. It’s filled with enchanting moments, such as all the adventures the Doctor has with young Kazran and Abigail, whose blossoming relationship is beautiful, but also very poignant moments such as elderly Kazran’s emotional catharsis when confronted with his younger self. It’s a perfect Christmas tale.

7. The Impossible Astronaut/Day of the Moon

It’s hard not to love this one, the bold, explosive two-part opener to Series 6. Like The Magician’s Apprentice, this extravagant opener begun Series 6 with a story pretty much the of the scale and atmosphere of a finale, although in fact it set up the various arc threads which would weave their way throughout Series 6 and culminate in the timey-wimey finale. This story introduced the Silence, probably my favourite monster in Doctor Who, in my opinion one of the more menacing and genuinely scary creatures in the show. Like the Weeping Angels, Moffat’s other notable creature creation, they’re very creepy monsters based on a neat psychological trick, their ability to cause the observer to forget them after looking away. In the episodes this made for many creepy scenes, like Amy being confronted by the Silent in the White House bathroom, and Amy in the Silence-infested orphanage. The plot constructed around the threat of the Silence to human civilisation was also great, suspenseful and claustrophobic drama, and the aesthetic of Americana lends the story an irresistible mood and swagger.

6. The Pandorica Opens/The Big Bang

The two-part Series 5 finale remains, to my mind, the best finale of the revival. It’s a superlative script that oozes Moffat’s style and voice all over. It’s a delightfully clever script that deceptively wrong-foots the viewer and then radically changes course halfway through. In many ways it’s the archetypal Moffat finale: it’s an expansive, high-stakes plot with a thrilling concept at its core, involving a very timey-wimey threat in an exploding Tardis that threatens to cause the implosion of the whole universe; but it also carries a profound emotional and character-centred quality, punctuated by touching character moments such as Rory’s pledging himself to stand guard over Amy for 2,000 years, and the Doctor’s pathetic goodbye to little Amelia in her bedroom as he fades from the universe. This story embodies those two staples of Moffat’s style: a penchant for clever and intricate storytelling and especially imaginative exploitation of the narrative possibilities of time travel; and a firm anchoring, from a storytelling perspective, in characters and their relationships.


Stay tuned for my top 5 Moffat stories! Please?