You know when you were in elementary school, and you and your friends would always do those group stories? One person would start it, and the next would continue it, etc. And there would always be that one kid who didn’t like what happened in the part of the story before his, so he would undo it in his part of the story and continue like it had never happened? Remember how much you hated him?

Moffat is that kid.

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Check out this chronological video timeline of River Song’s life! 

I always receive questions about River’s timeline and the order of events in her life, so hopefully this video from Adminathor will help :)

I wonder how much Moffat laughs when people still think Sherlock is straight after seeing HLV

Like he must sit there wondering how much more obvious he could have been: Sherlock never had sex with Janine; Sherlock purposely made John jealous of Janine; “John Watson is definitely in danger;” “damsel in distress” and “look how you care about John Watson;” “There’s something I’ve meant to say always and then never have”

Imagine sitting down and writing those scenes and then people still…

How is he not constantly cackling

And then he goes to interviews and he’s adamant Sherlock is not asexual and he’s not a sociopath, he’s actually a sexual volcano

And still, still people expect it with a woman like… A sexual *volcano* would have gone off with Janine, it would have helped him with the case even ¯\_(ツ)_/¯

I feel like inside, Moffat must often feel like that Yasmine Akram gif I can’t post because I’m on my phone, the one where she is smiling real big but looking at the camera like “are you hearing/seeing this shit? can you believe this?”

It must feel surreal to hear people’s reactions

I bet before the series aired he was like ‘I wonder if I made it too obvious’ but then after he probably had the ultimate proof that he can be as blatant as he wants and it doesn’t matter, he is literally trying to give the plot away and almost everyone is like “nah thanks I’m good”

Like in TGG they could have shown when they checked Sherlock’s old yearbooks looking for Moriarty, and lingered on a page where Sherlock was voted 'most openly out gay kid whom everyone knows is gay because he says so’ and people would be like 'that was the prop department playing a joke and then the director filmed it as a joke right under Gatiss’s nose who is always there for filming and then the editors kept it in as a joke’

And then everyone would talk about the ten seconds Sherlock talked to Molly

It’s like Moffat is a ghost, he can just stand there saying anything and being as loud and obvious as can be and yet nothing connects with the world around him, it’s like he never did any of it at all

It would be sad if it weren’t so funny

“Clever is good, and kind is strong.” || Top 10 favourite Moffat quotes.

#10: When he started writing fanfic of his own show in the official magazine

The impossible one, of course, is the Delgado/Gomez simmer-fest - but oh, imagine! Hooded gazes at dawn! Sneers like sword slashes! Sexy prowls, cat-like circling! In no time flat, a country cottage, three kids and a Volvo.

#9: Headcanons about his own show, with bonus disregard for gender ‘binary’

I bet River got married about 428 times. Once for each gender.

[On whether River had ever met Bernice Summerfield:]
Remember those 428 marriages I mentioned…

#8: In which he was very very wrong about 11′s costume 

Matt said ‘I should be a boffin, I think I need to go with the bow tie’ and I said ‘No, absolutely not, you’re not wearing a bow tie – that’s a cartoon idea of what Doctor Who is… Oh, you are going to wear a bow tie – you look incredible in it.

#7: On Clara

She’s got a high opinion of herself, not in a conceited way, but in a correct way.

#6: On Mary Tamm as Romana I

Perfectly brought to life by Mary, with such style and wit, you always thought she could have kicked the Doctor out of the time machine and got on with the adventure herself. A generation of little girls threw away the idea of being an assistant, and decided to fly the TARDIS for themselves.

#5: With regards to Missy

We must assume that gender is quite fluid on Gallifrey.

#4: On Sherlock fandom

It is very very touching when people are properly, creatively engaged in the show you are making. It genuinely is. And I say this about the other one [Doctor Who] too. There is no greater flattery than people not simply consuming it, but making more of their own. To look at a show and say ‘I think I’ve got that. I think I can do better than that. I think I could make something out of that.’, that is the beginning of becoming a creator yourself. So in a genuine, proper heartfelt way, I am saying that a fandom is the cradle of the next generation of creative people. That is fantastic. That is amazing. There is no bigger compliment.

#3: On Press Gang’s Lynda Day

Because I’ve never been a 17 year old girl, it’s rather interesting to think like one, or rather to force yourself to consider the world from that perspective. And it actually started to make me angry. I’d never really thought about it before, but you know, when I’d consider the world from the viewpoint of this dynamic, highly intelligent, highly talented 17 year old girl, and think what’s going to happen to her, think about how much harder it’s going to be for her than it would be if she’d been a boy, it made me SO angry.

#2: On Heroes

History tells us who we used to be, documentaries tell us who we are now; but heroes tell us who we WANT to be. And a lot of our heroes depress me. But when they made this particular hero, they didn’t give him a gun, they gave him a screwdriver to fix things. They didn’t give him a tank or a warship or an X-Wing fighter, they gave him a call box from which you can call for help. And they didn’t give him a superpower or pointy ears or a heat ray. They gave him two hearts. And that’s an extraordinary thing. There will never come a time when we don’t need a hero like the Doctor.

#1: On Feminist Criticism

I think it’s important that there is a feminist critique of television because things that go unquestioned go unchanged and what goes unchanged becomes institutionalized and what becomes institutionalized becomes your fault. So it should be questioned. I think some of the criticisms that are aimed at me personally are absurdly over the top and unfair, but then, who said the prosecution has to be fair? And it’s a case that needs to be prosecuted.

  • Fans:Do you know what happens if we don't see them kiss in Series Three, Moffat, do you?
  • Moffat:Oh, let me guess. I get hate mail.
  • Fans:No, don't be obvious; we're going to send you hate mail anyway. No, if you don't let Sherlock and John at least hug in Series Three, we will burn you. We will burn the HEART out of you.
  • Moffat:I've been reliably informed by Doctor Who fans that I don't have one.
  • Fans:Oh, but we both know that's not quite true.
  • Gatiss:*Enters, wearing a vest rigged with explosives* This is a turn-up, isn't it, Steven? Bet you never saw this coming.
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Moffat Appreciation Day Countdown

November 13: Favourite Work/ Unappreciated Episode

“Amy, you could have killed everyone on this ship.”

“…You could have killed a Star Whale…”

There’s a rule in Ancient Greek Theatre called ‘Binary Oppositions’. The clue’s in the name. Referring to a point of conflict in a narrative, specifically, 'Binary Opposition’ dictates a conflict that comes in two very defined pairs. Life and Death, Joy and Anger, Right and Wrong. There’s no room for liminality here.

Post-Revival Doctor Who, up to this point, has embraced the idea of making a choice. Of making the right choice over the wrong choice. Donna and the Doctor, cowering together in an escape pod in the heart of a Volcano, decide between collateral damage or world enslavement. It’s tough, but they make their decision. The Doctor, this time alone, lying on the ground outside a dying team of explorers in 2059, decides between letting them die, or saving them. It’s tough, but he makes his decision. In either case, the decisions they make are morally clear cut. Donna and the Doctor made the right choice in AD 79, The Doctor made the wrong choice in 2059. Russell T Davies era was about acceptance. About grief, and guilt, and having to make the tough decisions and being able to live with them. About fixed points and fluxed points, life and death, right and wrong…. It might not be easy, but the path we eventually take however hard, will be for the better.

Moffat’s era of Doctor Who throws everything we’ve learnt out the window. And introduces a new concept. A concept not embraced by Doctor Who often, and yet a concept that feels utterly at home on a series about time travel. The concept of “what if?”.

Moffat isn’t interested in defeat. Where Donna stands at Pompeii, traumatised with the terrible decision she has to make, Amy stands at Starship UK and finds another way. Her actions don’t work in spite of her emotions. Instead, Moffat teaches his audience to embrace their feelings, and to listen to them. There is always a third option, always another way. No room for binary oppositions here. Instead, we’re going to take back the agency we deserve and forge our own future’s. Our own stories. Whatever the consequences - we make the choices we want to make. We don’t kill the moon, we don’t let a Zygon plot blow up London, we don’t destroy Gallifrey…we don’t kill a Star Whale.

“The Beast Below” is an introduction to this. It’s an introduction to agency, it’s an introduction to beauty, it’s an introduction to thinking and emotion. An exploration of not only society, not only human nature, but universal nature. Of what drives us forward, what motivates us, what makes life so selfless that it can endure years of torture just to keep a striving world afloat. It’s powerfully political, it’s powerfully inspirational, powerfully uplifting, and powerfully universal. It’s a story about making a choice. But not necessarily the obvious one. Not necessarily a choice we can even see.

“The Beast Below” is Steven Moffat’s masterpiece. And yet, it’s hard to see why without a retrospective glance of his era as a whole. “The Beast Below” acts as a pre-emptive statement of what this show can do. What his era can do, has done, will do, and will continue to do. Time Travel can teach us many things, but of all of them, perhaps the most powerful lesson is the one that tells us take hold of our own destiny. Shape it ourselves, and be back home in time for tea. Because of Amy Pond, because she found another way, the Star Whale lives on, without pain, gliding humanity through the stars.

In bed above, we’re deep asleep,

while greater love lies further deep.

This dream must end, this world must know,

we all depend on the beast below.