You rock my world: Russell T. Davies, Julie Gardner, Phil Collinson, Steven Moffat, Christopher Eccleston, David Tennant, Matt Smith, Peter Capaldi, Billie Piper, Freema Ageyman, Catherine Tate, and all the rest too numerous to mention here: actors, crew and directors, my fellow Whovians for supporting New Who, and, of course, the BBC for allowing it to re-enter our lives so grandly. 


Episode 4 saw the words Bad Wolf appear for the first time. I just made it up on a whim, cos I liked the idea of the TARDIS being graffiti’d. But then I spent the rest of the episode idly wondering who that kid was, why he wrote those odd words. And, having dismissed notions of Evil Super Villain Kid, a plan began to form, in mid-production. Knowing that Rose would become the Time Goddess at the end of the series, I wondered if a Time Goddess would imprint herself on the universe, creating things in her image, like the face of Jesus in a bagel. Better still, these signs would actually summon her into existence. That’s the sort of thing you think about in this job, late at night. And then I worked backwards, inserting Bad Wolf references into almost every script. Funnily enough, I never told anyone what I was doing, in case it didn’t work, but the design department picked up on it—they didn’t even ask what it meant, they just offered to stencil it on Captain Jack’s bomb, in German. The idea spread without anyone knowing what it meant. Which is very Bad Wolf in itself.
—  Russell T Davies, Doctor Who: The Shooting Scripts
A few years ago when Billie Piper was playing Rose, I was very worried because the next week’s episode was called something like The Day Rose Died. I can’t remember exactly what it was called. Well, my children were in love with Rose as a companion, and I was worried about her. So I sent an e-mail off to Russell T Davies, who of course had grown up on the classic Doctor Who series, and I said “Could you just reassure me that Rose does not, in fact, die because my children shouldn’t watch it if that happens,” and he sent an e-mail back to me saying, “You killed Adric. What do you care?”

Since Steven Moffat took over as Doctor Who showrunner in 2009, he has never hired a single female writer. Only once has he brought on a female director, back in season five. Needless to say, this track record only adds fuel to the ever-growing number of fans who say Moffat is taking Doctor Who in a more conservative and sexist direction.

Historically, Doctor Who has been a socially progressive show. That’s surely why so many viewers have singled out Steven Moffat for hiring such a vast number of white, male writers while female characters kept turning into flirty sidekicks and the number of non-white characters plummeted. The most popular explanation is that the vast majority of British science fiction TV writers are white men, and only the cream of that crop can be hired to work for the BBC’s flagship show.

This explanation doesn’t hold up when you consider the number of unavoidably bad episodes that were written by the show’s existing (male) writers. And besides, other successful British sci-fi/fantasy shows like Being Human, Torchwood and Merlin have all hired women to write multiple episodes in the past, and that never seemed to do them any harm.


Rose is open, honest, heartfelt, to the point of being selfish, wonderfully selfish. Martha is clever, calm, but rarely says what she’s really thinking. Donna is blunt, precise, unfiltered, but with a big heart beneath all the banter. […] If Rose can be selfish, then her finest moments will come when she’s selfless. If Martha keeps quiet, then her moments of revelation — like her goodbye to the Doctor — make her fly. Donna is magnificently self-centred — not selfish, but she pivots everything around herself, as we all do — so when she opens up and hears the Ood song, or begs for Caecilius’ family to be saved, then she’s wonderful.
—  Russell T. Davies, The Writer’s Tale
Finally he’s (the Doctor) put in the position again where instead of giving your life for Time Lords and Daleks and great big mythological concepts that are very much offstage…it’s for Rose. It’s for that 19 year old shop girl from Planet Earth who is braver than brave and more loyal than anyone else in the universe. She is dying and he’s giving his life for her. Never mind wars. Never mind epic mythology. Never mind all that grand stand stuff. It’s absolutely personal and he’s at his most human. Right at the end he does a very human thing and gives his life.
—  Russel T. Davies on the Ninth Doctor - Doctor Who Confidential Series 1 Episode 13