You know when Amy and I first got married and we went travelling…
To Thailand?
More the entirety of space and time… in that Police Box.
– Rory and Brian Williams share some truths
There is a strange listlessness to the seventh season, despite its position on the cusp of the big anniversary year. In many ways, the seventh season feels awkwardly positioned between the “timey wimey” ambitiousness of the sixth season and the “new beginning” aesthetic of the eighth season. The fact that the seventh season is split in half doesn’t help matters; it feels like an epilogue to the story of Amy and Rory, and a prologue to the story of Clara. It feels very much like a “light” year, which is a strange way to head into a big anniversary celebration.
There is a curious sense of idleness to all this. There is, for example, no clear story that links both halves of the season – Jenna-Louise Coleman’s role in Asylum of the Daleks notwithstanding. The seventh season has no real purpose beyond clearing out the ensemble and building towards the anniversary. As a result, it can feel more than a little rudderless and indulgent. Steven Moffat has described the “blockbuster” aesthetic of the year, and long stretches of the season feel like the show is just doing stuff because it can.

Gone to the birds?
Give Amy and Rory a five-episode coda? Sure, why not! Actually shoot a western in a country that could pass for the United States? Go for it! It’s been a while since we’ve seen the Ice Warriors, hasn’t it? Throw them in there! Neil Gaiman wants to write a Cyberman episode? Ah, go on! Develop those quirky supporting characters from A Good Man Goes to War into a part of the show’s ensemble in Victorian London? It just makes sense! Richard E. Grant as a villain from two Second Doctor stories? We’d be crazy not to!
There is a sense that the seventh season is a victory lap for the show and many involved in the production. Deservedly so. What is the point of an anniversary year if you can’t go a little wild? That is the kind of thinking that leads to Dinosaurs on a Spaceship, a simple “because we can!” story. After all, one of the stock cringe-inducing Doctor Who images is the dinosaur special effects from Invasion of the Dinosaurs. What’s the point in turning the show into a hit if you can’t take an episode to prove how far your dinosaur effects have come in four decades?

Locking horns…
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