Steven Moffat: Difference between revisions
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{{Infobox | {{Infobox Person | ||
| image | |image = StevenMoffatBBCinterview.jpg | ||
| | |birth date = [[18 November (people)|18 November]] [[1961 (people)|1961]] | ||
| | |job title = {{il|[[Executive producer]]|[[Head writer]]}} | ||
| job title | |story = See [[#Selected credits|credits]] | ||
| | |time = 2005-2017, 2024 | ||
|non dwu = ''Press Gang'', ''Coupling'', ''[[Sherlock]]'', ''Dracula'' | |||
|imdb = 0595590 | |||
|clip = Steven Moffat On Writing For Doctor Who, Weeping Angels & MORE! - Doctor Who The Fan Show | |||
| time | |clip2 = Steven Moffat On Matt Smith's Era, Writing The 50th Anniversary & MORE! - Doctor Who The Fan Show | ||
| non dwu | }}{{NOTOC}}{{you may|Steven Moffat (in-universe)|n1=his DWU counterpart|Steven Moffat (The Girl Who Loved Doctor Who)|n2 = the version from a meta-dimension}} | ||
| imdb | '''Steven Moffat OBE'''<ref>[https://www.google.co.uk/amp/s/www.radiotimes.com/tv/drama/as-steven-moffat-receives-his-obe-he-looks-ahead-to-the-next-series-of-doctor-who-and-sherlock/amp/ Radio Times]</ref> (born [[18 November (people)|18 November]] [[1961 (people)|1961]]<ref>[https://www.famousbirthdays.com/people/steven-moffat.html Famous Birthdays]</ref>) was [[head writer]] and [[executive producer]] on ''[[Doctor Who]]'', from [[series 5 (Doctor Who 2005)|series 5]] in 2010 to [[series 10 (Doctor Who 2005)|series 10]] in 2016/17. He also served as executive producer for ''[[Class (TV series)|Class]]''. The [[War Doctor|War]], [[Eleventh Doctor|Eleventh]] and [[Twelfth Doctor]]s are, primarily, his creations. Prior to this, he wrote a number of television stories during [[Russell T Davies]]' first tenure as executive producer. He remains ''Doctor Who''{{'}}s most award-winning writer. | ||
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'''Steven Moffat''' (born [[18 November]] [[1961]] | |||
== Prior to ''Doctor Who'' == | == Prior to ''Doctor Who'' == | ||
Moffat came to ''Doctor Who'' after a successful career of writing for situation comedies that began in the | Moffat came to ''Doctor Who'' after a successful career of writing for situation comedies that began in the 1990s. He was a major creative force on ''Press Gang'' (also his first television programme) and ''Coupling''. His love for ''Doctor Who'' sometimes crept into his scripts for these programmes. In ''Coupling'', for instance, the character of Steve explains the use of sofas as protection against [[Dalek]]s. The character of Oliver, introduced in the fourth season of ''Coupling'', worked at a comic book and sci-fi/fantasy specialty shop, which allowed for ''Doctor Who'' references. In one episode, for example, Oliver has a pretend conversation with his girlfriend, using a life-sized Dalek replica as the stand-in for his ex. In another episode, Oliver arrives at a dinner party wearing what he thinks is a nice, formal jumper, forgetting that the jumper says "Bring Back Doctor Who" on the back. | ||
Classic ''Doctor Who'' writer [[Terrance Dicks]] noted Moffat's fandom in a commentary for ''[[Horror of Fang Rock (TV story)|Horror of Fang Rock]]'', recorded in 2004 (before Moffat's work on the revived series). | |||
During a discussion after at least one round of drinks with [[Andy Lane]], [[Paul Cornell]] and [[David Bishop]], he claimed that although "as a television format, ''Doctor Who'' equals anything", he couldn't hold up the program as an exemplar of great television to "anybody I work with in television." He went on to call the original program "slow", "embarrassing", and "limited by the relatively meagre talent of the people who were working on it." He spoke particularly harshly of | == Opinions of the original series == | ||
=== Mid-90s, early 2000s === | |||
Prior to his first script for ''Doctor Who'', Steven Moffat was a fan who sometimes publicly opined on his love-hate relationship with the program. In the mid-1990s, he was wont to extol the virtues of [[Peter Davison]]'s acting abilities, saying that the reason "he's played more above-the-title lead roles on the telly than the rest of the Doctors put together" is "because — get this! — he's the best actor." Furthermore, he has called ''[[Snakedance (TV story)|Snakedance]]'' and ''[[Kinda (TV story)|Kinda]]'', "the two best ''Who'' stories ever."<ref>[http://doctorwhoforum.com/showthread.php?t=194947 Moffat, Steven. "Season 19 Overview".] ''In-Vision'' #62. 1996. Posted to doctorwhoforum.com. Registration required.</ref> | |||
During a discussion after at least one round of drinks with [[Andy Lane]], [[Paul Cornell]] and [[David Bishop]], he claimed that although "as a television format, ''Doctor Who'' equals anything", he couldn't hold up the program as an exemplar of great television to "anybody I work with in television." He went on to call the original program "slow", "embarrassing", and "limited by the relatively meagre talent of the people who were working on it." He spoke particularly harshly of 1960s ''Doctor Who'', stating: | |||
{{quote|If you look at other stuff from the Sixties they weren't crap — it was just ''Doctor Who''. The first episode of ''Doctor Who'' betrays the lie that it's just the Sixties, because the first episode is really good — the rest of it's shit.|Steven Moffat}} | {{quote|If you look at other stuff from the Sixties they weren't crap — it was just ''Doctor Who''. The first episode of ''Doctor Who'' betrays the lie that it's just the Sixties, because the first episode is really good — the rest of it's shit.|Steven Moffat}} | ||
Moreover, he expressed some disdain for the [[Virgin New Adventures]], which were, at the time of the discussion, the dominant form of ''Doctor Who'' fiction. "There's 24 of them a year. That's too bloody many! I've never wanted 24 new Doctor Who adventures a year in my life. Six was a perfectly good number." However, he did call "brilliant" the notion that the | Moreover, he expressed some disdain for the [[Virgin New Adventures]], which were, at the time of the discussion, the dominant form of ''Doctor Who'' fiction. "There's 24 of them a year. That's too bloody many! I've never wanted 24 new Doctor Who adventures a year in my life. Six was a perfectly good number." However, he did call "brilliant" the notion that the NAs "sometimes successfully" took a television program "aimed at 11-year olds" and reinterpreted it for adults, involving "a completely radical revision of the [[Seventh Doctor]] that never appeared on television."<ref name="TSV">[http://nzdwfc.tetrap.com/archive/tsv43/onediscussion.html Bishop, David. "Four Writers, One Discussion"] ''Time Space Visualiser'' #43. March 1995.</ref> | ||
However, by 2004 when he gave an interview to ''[[Doctor Who Magazine]]'', his opinion appeared to have shifted. Commenting on the show's prevalence in his childhood, he recalled ''[[The Tomb of the Cybermen (TV story)|The Tomb of the Cybermen]]'' and remarked how irresponsible it was for a show to deliberately set out to frighten children. ([[DWM 350]]) Moffat's statement on his own position as a fan was the one that most contradicted his earlier disparagement: | |||
{{quote|I don't think I've tried to deny being a fan. I've gone through the 'it was all crap' phase, but I've come through the other end now.|Steven Moffat|DWM 350}} | |||
=== After writing for the show === | |||
In 2013, Moffat considered the first episode of ''Doctor Who'', "[[An Unearthly Child (episode)|An Unearthly Child]]", to "still [be] an extraordinary piece of television by any standard" and "absolutely amazing". He considered [[William Hartnell]]'s portrayal of the [[First Doctor]] to be "brilliant" but found it was [[Patrick Troughton]]'s [[Second Doctor]] who "[laid] down the central rules" of being [[the Doctor]]. He noted that [[Jon Pertwee]]'s "showmanship" was largely in the [[Third Doctor]]'s costume, and that he played the Doctor far more seriously than even [[Christopher Eccleston]]. <ref name = "evening">{{cite web |url=http://www.bbc.co.uk/programmes/p01lg91q |title=An Evening With Steven Moffat |date of source=12 November 2013 |website name=BBC One - Doctor Who |accessdate=6 April 2014}}</ref> | |||
In 2014, during the celebration of [[Tom Baker]]'s 80th birthday, he found that the [[Fourth Doctor]], or "the one with the scarf", had "quite a few of his [stories] that [were] very special". He thought that [[Douglas Adams]]' script for ''[[City of Death (TV story)|City of Death]]'' was "very very funny" and "beautifully plotted".<ref name = "moffat fourth">{{cite web |url=http://www.bbc.co.uk/programmes/p01qg3y7 |title=Doctor Who: Steven Moffat on the Fourth Doctor |date of source=24 January 2014 |website name=BBC One - Doctor Who, Season 12 |accessdate=6 April 2014}}</ref> | |||
Also in 2014, he found ''[[The Ark in Space (TV story)|The Ark in Space]]'' "sort of sums all of ''Doctor Who'' up" with a "quite, quite brilliant movie-sized script" which was a "superlative piece of writing" and a "really, really well-told story", in spite of containing [[Wirrn|a monster]] which was "a bit shoddy" and the production being "a little bit overlit".<ref name = "moffat fourth" /> | |||
In a 2016 interview, he also praised the scriptwriting and criticised the production quality of the [[Graham Williams]] era, referring to the scripts of those years as "meticulously scripted and tightly constructed". He specifically singled out the "hugely well-put-together" and "genuinely superb" script for ''[[Nightmare of Eden (TV story)|Nightmare of Eden]]'', a serial he had rewatched the previous night, which he found had ended up being "very poorly made" television. ([[DWM 500]]) | |||
In 2013, he continued to love Peter Davison's performance as the [[Fifth Doctor]]. He thought that Davison went in the opposite direction to Tom Baker and that this made him "real and passionate and heartfelt". He felt that in serials like ''[[The Caves of Androzani (TV story)|The Caves of Androzani]]'', it wasn't so much that the Fifth Doctor was more vulnerable or less effective, to which Moffat claimed he wasn't, but that he "[made] you feel the journey in a way that Tom Baker didn't".<ref name = "evening" /> | |||
By this point, Moffat concluded that the effects team of the BBC London version of the show were "brilliant people"; they usually had the know-how and experience to make effects shots as good as the opening scene of ''[[Season 23 (Doctor Who 1963)|The Trial of a Time Lord]]'', but they didn't really have the time or the money to realise them. Moffat "quite like[d]" the idea of [[the Valeyard]] being a dark version of the Doctor, but claimed he wasn't completely sure if he understood it.<ref name = "evening" /> | |||
Around this time, Moffat considered some of the last stories of the original run of the show, including the "terrific script" and "very, very well-directed [story]" of ''[[Remembrance of the Daleks (TV story)|Remembrance of the Daleks]]'' to be "superb", and that they "show[ed] a re-galvanised production team just really trying to deliver proper blockbusters". He also noted how the spaceship landing in this story was done "superbly" by the special effects team without using CGI.<ref>{{cite web |url=http://www.bbc.co.uk/programmes/p01nmvpf |title=Remembrance of the Daleks, Steven Moffat on Remembrance of the Daleks |date of source=18 December 2013 |website name=BBC One - Doctor Who, Season 25 |accessdate=6 April 2014}}</ref> By 2015, Moffat wrote that, contrary to "conventional wisdom" about the [[Sylvester McCoy]] years, [[season 26 (Doctor Who 1963)|season 26]] was "terrific ''Doctor Who'', on absolutely top form", one of Moffat's favourite seasons of the show, and "possibly" the only season in the classic series where he liked every single episode. He also mentions enjoying producer [[John Nathan-Turner]]'s work "very much" and praised him as a "great producer". ([[DWM 488]]) | |||
He believed that "stylistically, tonally, everything", that when you follow the final episode of ''[[Survival (TV story)|Survival]]'' in 1989 with ''[[Rose (TV story)|Rose]]'' in 2005, ''Doctor Who'' was "really the same show" and it "came back exactly as it left".<ref name = "evening" /> | |||
== Work on ''Doctor Who'' == | == Work on ''Doctor Who'' == | ||
=== Writer === | === Writer === | ||
Moffat's first piece of professional ''Doctor Who'' fiction was a 1996 short story for [[Virgin Books]] called ''[[Continuity Errors (short story)|Continuity Errors]]''. ''Errors'' is one of the few non-televised ''Doctor Who'' stories Moffat has written and established a pattern of Moffat only writing ''short'' stories in prose. | |||
Soon after ''Errors'', he wrote the first piece of televised ''Doctor Who'' after the [[Doctor Who (TV story)|1996 TV movie]] — the 1999 [[Comic Relief]] story ''[[The Curse of Fatal Death (TV story)|The Curse of Fatal Death]]''. When the [[BBC Wales]] version of the program started in [[2005 (releases)|2005]] he began writing a string of [[BAFTA]]- and Hugo- award-winning storylines, which included ''[[The Empty Child (TV story)|The Empty Child]]''/''[[The Doctor Dances (TV story)|The Doctor Dances]] ''(Moffat's first episodes), ''[[The Girl in the Fireplace (TV story)|The Girl in the Fireplace]]'', and ''[[Blink (TV story)|Blink]]''. Steven also wrote ''[[Time Crash (TV story)|Time Crash]]'', the first multi-Doctor story of the new series, as well as ''[[Silence in the Library (TV story)|Silence in the Library]]/[[Forest of the Dead (TV story)|Forest of the Dead]]''. His only prose contributions during this period were three more short stories, each for a version of the old [[Doctor Who annual|''Doctor Who'' annual]] concept. | |||
As of 2024, he has the distinction of writing for the most Doctors on-screen than any other writer for the show, with a total of (at least) 9. As well as contributing episodes to the main tenures of the [[Ninth Doctor|Ninth]], [[Tenth Doctor|Tenth]], [[Eleventh Doctor|Eleventh]], [[Twelfth Doctor|Twelfth]] and [[War Doctor|War]] Doctors, Moffat also penned ''[[Time Crash (TV story)|Time Crash]]'' for the [[Fifth Doctor]]; ''[[The Night of the Doctor (TV story)|The Night of the Doctor]]'' for the [[Eighth Doctor]] and introduced [[The Curator (The Day of the Doctor)|The Curator]], who is implied to be a future version of the Doctor. Moffat wrote for the [[First Doctor]]'s appearance at the end of his tenure in ''[[The Doctor Falls (TV story)|The Doctor Falls]]'' and ''[[Twice Upon a Time (TV story)|Twice Upon a Time]]''. Returning to the show under Russell T Davies in his second tenure, he also wrote for [[Ncuti Gatwa]]'s [[Fifteenth Doctor]] when he penned ''[[Boom (TV story)|Boom]]''. | |||
Furthermore, due to a cameo appearance in ''[[The Day of the Doctor (TV story)|The Day of the Doctor]]'', he has also written for [[the Curator]], who is definitively revealed in other media to be a future incarnation of the Doctor, though this is left intentionally ambiguous in Moffat's story. | |||
Due to worldwide outbreak of the disease known as [[wikipedia:COVID-19|Coronavirus]] in the year [[2020]], [[Emily Cook]] from ''[[Doctor Who Magazine]]'' proposed an idea to fans of a simulcast watch-along of the story ''The Day of the Doctor'' worldwide on [[21 March]] 2020 as a way to pass the time in self-isolation, adding that if this "[[Doctor Who: LOCKDOWN!|Who at Home]]" concept gained enough popularity, she would arrange more in the following weeks. This watch-along would reignite #SaveTheDay.<ref>https://www.radiotimes.com/news/tv/2020-03-18/doctor-who-rewatch-50th-anniversary/?fbclid=IwAR2px8zuMfmC39ima3S1U00igAvR1lLcw6N1H1EinZCcP7itqC3i3ZMN0aI</ref> For this special occasion, Moffat returned to the writing stool to create a brand new "introduction" to the story, entitled ''[[Strax Saves the Day (webcast)|Strax Saves the Day]]''.<ref>https://www.radiotimes.com/news/tv/2020-03-21/doctor-who-new-moffat-scene/?fbclid=IwAR0fwWcp-5Mb1GIwrsdcpb50cGsKTKCCNUmojMQUaAbzpaQHaPgIEOJjBvw</ref> | |||
=== Head writer === | === Head writer === | ||
On | On 20 May 2008, Steven Moffat was announced as the executive producer and head writer of ''Doctor Who'' starting with the fifth season in 2010, taking over from [[Russell T Davies]], who revived the show in [[2005 (releases)|2005]]. He joked in a BBC press release: {{Quote|My entire career has been a secret plan to get this job. I applied before but I got knocked back 'cos the BBC wanted someone else. Also I was seven. Anyway, I'm glad the BBC has finally seen the light, and it's a huge honour to be following Russell into the best - and the toughest - job in television. I say toughest 'cos Russell's at my window right now, pointing and laughing.|Steven Moffat on the ''Doctor Who'' official website, May 2008<ref>[http://web.archive.org/web/20080521102015/http://www.bbc.co.uk/doctorwho/s4/news/latest/080520_news_01 ''Doctor Who'' official website press release on the accession of Steven Moffat]</ref>}} | ||
Although Steven Moffat cast | Although Steven Moffat cast twenty-six-year old [[Matt Smith]] in the role, Moffat had previously been quoted as preferring older actors in the role of the Doctor. "Although I loved Peter Davison and Paul McGann, probably the best two actors in the role, I don't think young, dashing Doctors are right at all. He should be forty-plus and weird-looking — the kind of wacky grandfather kids know on sight to be secretly one of them." | ||
=== Major themes === | === Major themes === | ||
Steven Moffat's work on ''Doctor Who'' has exhibited | {{video|Everybody lives? - Doctor Who - BBC|thumb|"Everybody lives" when the Doctor comes to call.}} | ||
Steven Moffat's work on ''Doctor Who'' has exhibited four major themes, including romance and [[sexuality]] (especially concerning the Doctor), the power behind [[Aliases of the Doctor|the Doctor's real name]] and the consequences of [[time travel]] and its resulting [[paradox]]es. | |||
The most pervasive theme found within his work has been communication, both from the perspective of glitches in communication mediums, as well as metatextual narratives. The first of these perspectives has created his most iconic monsters, such as the [[Weeping Angel]], which feature a breakdown in sight as well as our ability to represent them, and the [[Silent]], which feature a breakdown in memory. The second can be found throughout his whole tenure, for example, in the Smith years, there was a constant consideration of the Doctor's relationship to children, and if the Doctor was best thought of as a fairy tale or an imaginary friend, an idea presaged in ''[[Silence in the Library (TV story)|Silence in the Library]]'', and echoed at the very end of ''[[Twice Upon a Time (TV story)|Twice Upon a Time]]''. | |||
Other recurring elements in his stories include children's fears (whether they be bombs dropping in World War II, monsters under the bed, statues coming to life, and the most common childhood fear: the dark) and the Doctor being a very lonely soul. Another common characteristic is that "Everyone lives": of his first four stories, two of them featured no deaths at all, while the other two featured only deaths by natural causes. Another characteristic is having antagonists who are not necessarily evil, merely doing what they are made to do. Three times Moffat has used time travel to very quickly build an emotional relationship between someone and the Doctor when they encounter him fleetingly and see him again many years later: [[Madame de Pompadour]] in ''[[The Girl in the Fireplace (TV story)|The Girl in the Fireplace]]'', [[Amy Pond]] in ''[[The Eleventh Hour (TV story)|The Eleventh Hour]]'', and [[Elizabeth X|Liz Ten]] in ''[[The Beast Below (TV story)|The Beast Below]]''. The reverse happens between the Doctor and [[River Song]] in ''[[Silence in the Library (TV story)|Silence in the Library]]''. | |||
Moffat tended to use metafictional references as serious or semi-serious themes. He converted the "Doctor Who?" running joke into "[[The First Question]]", part of a universe-threatening story arc. ([[TV]]: ''[[The Wedding of River Song (TV story)|The Wedding of River Song]]'') He also liked to plant his themes early and let them be revealed slowly, sometimes years later. Although he first raised the theme of "Doctor Who? It's more than just a question" in 2006 ([[TV]]: ''[[The Girl in the Fireplace (TV story)|The Girl in the Fireplace]]'') and only revealed its importance in 2011. ([[TV]]: ''[[The Wedding of River Song (TV story)|The Wedding of River Song]]'') | |||
In like manner, the question of the identity of [[River Song]] and her relationship to the Doctor was raised in 2008 ([[TV]]: ''[[Silence in the Library (TV story)|Silence in the Library]]'') was only answered in 2011. ([[TV]]: ''[[A Good Man Goes to War (TV story)|A Good Man Goes to War]]'', ''[[The Wedding of River Song (TV story)|The Wedding of River Song]]'') | |||
Moffat also has had the Doctor and River Song warning each other "[[Spoiler]]s!" to avoid future-altering (and suspense-destroying) foreknowledge. ([[TV]]: ''[[Silence in the Library (TV story)|Silence in the Library]]'' et al.) | |||
Diversity also has been a major theme of his era. His era is notable for introducing the first televised [[lesbian]] companion, [[Bill Potts]], as well as casting the first female [[The Master|Master]], and introducing the concept of gender-fluidity among [[Time Lord]]s. | |||
=== TARDIS telephone === | === TARDIS telephone === | ||
Moffat | Moffat has used the TARDIS as a telephone box several times to surprise even the Doctor. In ''[[The Empty Child (TV story)|The Empty Child]]'' and ''[[The Bells of Saint John (TV story)|The Bells of Saint John]]'', [[Empty Child|the Child]] and [[Clara Oswald]] made outside phone of the TARDIS ring. At the end of ''[[The Beast Below (TV story)|The Beast Below]]'', the Doctor enters the TARDIS as the console phone is ringing. In ''[[The Wedding of River Song (TV story)|The Wedding of River Song]]'', the Doctor uses the phone to call the Brigadier up for an adventure. | ||
=== Monsters === | === Monsters === | ||
Moffat | Moffat-designed monsters have been very basic-looking, but intricately designed. The [[Empty Child]] look like people wearing gas masks, but are actually mutants modelled after a dead child and created by subatomic robots. The [[Clockwork Droid]]s look like people in French dress, but are actually clockwork repair droids using time-windows to repair their ship with human parts. The [[Weeping Angel]]s look like statues, but are actually ancient, quantum-locked, time-trapping assassins that feed off of time energy. The [[Vashta Nerada]] look like shadows, but are actually carnivorous swarms that inhabited trees that were manufactured into books. [[Prisoner Zero]] looks like a man with a dog, but is actually a shape-shifting worm hiding in Amy Pond's house via a [[Time Crack]]. The [[Smiler]]s look like dummies, but are actually androids involved in a killer government conspiracy. Perhaps Moffat's most notable monsters are the [[Silent|Silence]], an ancient species that have the ability to make people forget that they had ever existed. Moffat's monsters have also been highly regarded by fans as the scariest monsters, though [[Paul Cornell]]'s [[Family of Blood]] and [[Russell T Davies]]' "[[Midnight entity]]" have been also regarded. {{says who?}} | ||
=== Awards and recognition === | === Awards and recognition === | ||
[[File:Sherlock and the Doctor with some bloke.jpg|thumb|right|Steven Moffat with [[Benedict Cumberbatch]] and [[Matt Smith]].]] Throughout his involvement with the revived series, Moffat has been something of a [[Hugo Award]]s "juggernaut". | [[File:Sherlock and the Doctor with some bloke.jpg|thumb|right|Steven Moffat with [[Benedict Cumberbatch]] and [[Matt Smith]].]] | ||
Throughout his involvement with the revived series, Moffat has been something of a [[Hugo Award]]s "juggernaut". The episodes he wrote for each of the first four seasons; ''[[The Empty Child (TV story)|The Empty Child]]''/''[[The Doctor Dances (TV story)|The Doctor Dances]]''; ''[[The Girl in the Fireplace (TV story)|The Girl in the Fireplace]]'', ''[[Blink (TV story)|Blink]]'', and ''[[Silence in the Library (TV story)|Silence in the Library]]''/''[[Forest of the Dead (TV story)|Forest of the Dead]]'' were all nominated in the 'Best Dramatic Presentation, Short Form' category. He has also received multiple nominations during his years as executive producer. Both ''[[The Pandorica Opens (TV story)|The Pandorica Opens]]''/''[[The Big Bang (TV story)|The Big Bang]]'' and ''[[A Christmas Carol (TV story)|A Christmas Carol]]'' were nominated in 2011, and ''[[A Good Man Goes to War (TV story)|A Good Man Goes to War]]'' in 2012. Three of his episodes were nominated in 2013: ''[[Asylum of the Daleks (TV story)|Asylum of the Daleks]]'', ''[[The Angels Take Manhattan (TV story)|The Angels Take Manhattan]]'' and ''[[The Snowmen (TV story)|The Snowmen]]''. | |||
Moffat set a record | Moffat set a record by winning the Hugo three years consecutively (2006, 2007, 2008), with his episodes defeating episodes of ''Battlestar Galactica'', and a ''[[Star Trek (franchise)|Star Trek]]'' fan film, as well as others from ''[[Doctor Who]]'' and ''[[Torchwood (TV series)|Torchwood]]''. The winning streak came to an end when Moffat's ''Library'' two-parter was defeated by the Internet production, ''Dr. Horrible's Singalong Blog'', although only by approximately 100 votes.<ref>[http://www.thehugoawards.org/content/pdf/2009%20Final%20Ballot.pdf 2009 Hugo Awards Final Ballot results]</ref> Despite this however, Moffat won the award once again for the [[Series 5 (Doctor Who 2005)|series 5]] finale in 2011. | ||
As an individual writer, Moffat has twice been nominated for the | As an individual writer, Moffat has twice been nominated for the "Best Script" Nebula award (''Girl in the Fireplace'' and ''Blink'') and his work on ''Blink'' resulted in "Best Writer" and "Best Screenwriter" awards at the 2008 Television BAFTA and BAFTA Cymru awards respectively. As part of the collective writers of [[Series 3 (Doctor Who 2005)|Series 3]], he was also awarded the Writers' Guild of Great Britain award for "Best Soap/Series (TV)". | ||
Moffat's work on Doctor Who has also been recognised | Moffat's work on ''Doctor Who'' has also been recognised by those writing for other well known franchises. The preface to the ''[[Star Trek (franchise)|Star Trek]]'' novel ''{{mb|Watching the Clock}}'' features a quote from ''Blink'' credited to Moffat. | ||
He wrote the Hartswood Films drama series ''Jekyll'', a modern version of ''The Strange Case of Dr Jekyll and Mr Hyde'', which aired on BBC One in June and July 2007. In an interview with ''The Age'', James Nesbitt, who played the lead roles of Dr Tom Jackman and Mr Hyde, called Moffat "an eccentric, shy fellow", while commending his writing as "inventive and dark and funny". | He wrote the Hartswood Films drama series ''Jekyll'', a modern version of ''The Strange Case of Dr Jekyll and Mr Hyde'', which aired on BBC One in June and July 2007. In an interview with ''The Age'', James Nesbitt, who played the lead roles of Dr Tom Jackman and Mr Hyde, called Moffat "an eccentric, shy fellow", while commending his writing as "inventive and dark and funny". | ||
In October 2007 it was reported that Moffat would be scripting a trilogy of ''The Adventures of Tintin'' films for director [[Steven Spielberg]] and producer Peter Jackson, starring the boy reporter [[Tintin]]. According to The Times newspaper, Moffat had to be "love bombed" by Spielberg into accepting the offer to write the films, with the director promising to shield him from studio interference with his writing. He had intended to complete work on the whole trilogy before resuming work on ''Doctor Who'', but the intervening Writers Guild of America strike meant he could submit a finished script for the first film only. In July 2008, Moffat was quoted by the Daily Mail as saying:{{Quote|I could not work on the second Tintin film and work on Doctor Who. So I chose Doctor Who.|Steven Moffat, July 2008}}The first film, ''The Adventures of Tintin: The Secret of the Unicorn'' was released in 2011. | In October 2007 it was reported that Moffat would be scripting a trilogy of ''[[Tintin|The Adventures of Tintin]]'' films for director [[Steven Spielberg]] and producer Peter Jackson, starring the boy reporter [[Tintin]]. According to ''The Times'' newspaper, Moffat had to be "love bombed" by Spielberg into accepting the offer to write the films, with the director promising to shield him from studio interference with his writing. He had intended to complete work on the whole trilogy before resuming work on ''Doctor Who'', but the intervening Writers Guild of America strike meant he could submit a finished script for the first film only. In July 2008, Moffat was quoted by the ''Daily Mail'' as saying:{{Quote|I could not work on the second Tintin film and work on ''Doctor Who''. So I chose ''Doctor Who''.|Steven Moffat, July 2008}}The first film, ''The Adventures of Tintin: The Secret of the Unicorn'' was released in 2011. | ||
Moffat | Moffat continued to write for Hartswood Films even after his appointment as show-runner for ''Doctor Who''. During their journeys from London to Cardiff for ''Doctor Who'', Moffat and [[Mark Gatiss]] conceived a contemporary update of [[Sherlock Holmes]], called ''{{iw|bakerstreet|Sherlock (2010|Sherlock}}''. [[Benedict Cumberbatch]] was cast as Holmes, with Martin Freeman as [[John Watson|Dr Watson]]. Four series of three 90-minute episodes, plus a special, written by Moffat, Gatiss and [[Steve Thompson]], aired in 2010, 2012, 2014, 2016 and 2017. He won a [[Royal Television Society Award|Royal Television Society Judges Award]] in 2010 for his work on ''Doctor Who'' and ''[[Sherlock]]''.<ref>http://www.rts.org.uk/winners-rpa</ref> | ||
== Personal life == | == Personal life == | ||
Moffat | Moffat married his frequent production partner, [[Sue Vertue]], who produced ''[[The Curse of Fatal Death (TV story)|The Curse of Fatal Death]]'' and ''[[Sherlock]]''. They have two children. While Moffat and Vertue's sons had become adults by the 2020s, at the start of Moffat's production era on ''Doctor Who'' they would have been in the target audience age range of ''[[Doctor Who]]''. His children have been seen on ''[[Doctor Who Confidential]]'' making backstage visits to the set of ''[[The Girl in the Fireplace (TV story)|The Girl in the Fireplace]]''. Moffat has disclosed in ''[[Doctor Who Magazine]]'' {{which}} that he often shares details about newly-arrived scripts with his kids. He is also the son-in-law of the legendary British television studio boss, [[Beryl Vertue]], who is most significant to ''Doctor Who'' fans as the agent who originally negotiated [[Terry Nation]]'s rights to the [[Dalek]]s. | ||
== | == Selected credits == | ||
=== | === Televised scripted drama === | ||
==== As writer ==== | |||
{{pcred|writer}} | |||
==== | |||
==== | ==== As executive producer ==== | ||
{{pcred|executive producer}} | |||
=== | === Novels === | ||
==== Target Novelisations ==== | |||
* ''[[The Day of the Doctor (novelisation)|The Day of the Doctor]]'' | |||
* ''[[ | |||
==== | === Short Stories === | ||
* ''[[ | ==== Virgin Decalogs ==== | ||
* ''[[Continuity Errors (short story)|Continuity Errors]]'' (''[[Decalog 3: Consequences]]'') | |||
* ''[[Afterword (short story)|Afterword]]'' (''Decalog 3: Consequences'') | |||
==== | ==== Doctor Who annual ==== | ||
* ''[[ | * ''[[What I Did on My Christmas Holidays by Sally Sparrow (short story)|What I Did on My Christmas Holidays by Sally Sparrow]]'' (''[[Doctor Who Annual 2006]]'') (later adapted for television as ''[[Blink (TV story)|Blink]]'') | ||
==== [[ | ==== Doctor Who Storybook ==== | ||
* ''[[ | * ''[[Corner of the Eye (short story)|Corner of the Eye]]'' (''[[Doctor Who Storybook 2007]]'') | ||
* ''[[A Letter from the Doctor (short story)|A Letter from the Doctor]]'' (''[[Doctor Who Storybook 2009]]'') | |||
=== | ==== Big Finish Bernice Summerfield Series ==== | ||
* ''[[The | * ''[[The Least Important Man (short story)|The Least Important Man]]'' (''[[The Dead Men Diaries (anthology)|The Dead Men Diaries]]'') | ||
== | ==== Doctor Who Magazine ==== | ||
== | * ''[[My Dad's A Cyberman! (short story)|My Dad's A Cyberman!]]'' | ||
* ''[[ | ==== Doctor Who: Lockdown ==== | ||
==== | * ''[[The Terror of the Umpty Ums (short story)|The Terror of the Umpty Ums]]'' | ||
* ''[[ | |||
==== | === Webcasts === | ||
* ''[[ | * ''[[Pompadour (webcast)|Pompadour]]'' | ||
* ''[[ | * ''[[The Best of Days (webcast)|The Best of Days]]'' | ||
== | |||
=== Television pastiches === | |||
==== As actor ==== | |||
* ''[[The Five(ish) Doctors Reboot (TV story)|The Five(ish) Doctors Reboot]]'' (as himself) | |||
=== Video games === | |||
* ''[[Dalek Hack (video game)|Dalek Hack]]'' | |||
== Notes == | |||
He won the award for writing ''[[The Day of the Doctor (TV story)|The Day of the Doctor]]'' for "The First 50 Years" poll in [[DWM 474]]. | |||
== External links == | == External links == | ||
* [http:// | * {{imdb name|id=0595590}} | ||
* {{lockx}} | |||
* [http://nzdwfc.tetrap.com/archive/tsv43/onediscussion.html TSV 43 Four Writers, One Discussion - Andy Lane, Paul Cornell, Steven Moffat & David Bishop By Guy Blythman] | |||
== Footnotes == | == Footnotes == | ||
{{reflist|2}} | {{reflist|2}} | ||
{{NameSort}} | |||
[[fr:Steven Moffat]] | [[fr:Steven Moffat]] | ||
[[Category:Doctor Who television writers]] | [[Category:Doctor Who television writers]] | ||
[[Category:Doctor Who executive producers]] | [[Category:Doctor Who executive producers]] | ||
[[Category:Class executive producers]] | |||
[[Category:The Five(ish) Doctors Reboot cast]] | |||
[[Category:Doctor Who short story writers]] | |||
[[Category:Bernice Summerfield short story writers]] | |||
[[Category:Writers interviewed on Doctor Who Confidential]] | |||
[[Category:Executive producers interviewed on Doctor Who Confidential]] | |||
[[Category:Documentary producers]] | |||
[[Category:Doctor Who Extra crew]] | |||
[[Category:Doctor Who at the Proms crew]] | |||
[[Category:People interviewed on Doctor Who Live]] | |||
[[Category:Crew members interviewed on Doctor Who Extra]] | |||
[[Category:Writers interviewed on Toby Hadoke's Who's Round]] | |||
[[Category:Producers interviewed on Toby Hadoke's Who's Round]] | |||
[[Category:People interviewed on The Fan Show]] | |||
[[Category:People who appeared in documentaries about classic Doctor Who that weren't part of the production team]] | |||
[[Category:People interviewed in The Science of Doctor Who]] | |||
[[Category:BAFTA Cymru award winners]] | [[Category:BAFTA Cymru award winners]] | ||
[[Category:BAFTA award winners]] | [[Category:BAFTA award winners]] | ||
[[Category:Hugo award winners]] | [[Category:Hugo award winners]] | ||
[[Category:Writers' Guild of Great Britain award winners]] | [[Category:Writers' Guild of Great Britain award winners]] | ||
[[Category: | [[Category:Royal Television Society Award winners]] | ||
[[Category: | [[Category:Emmy Award winners]] | ||
[[Category: | [[Category:BAFTA Scotland award nominees]] | ||
[[Category:Saturn Award nominees]] | |||
[[Category:The Five(ish) Doctors Reboot executive producers]] | |||
[[Category:National Television Award nominees]] | |||
[[Category:OFTA Award winners]] | |||
[[Category:Web fiction writers]] | |||
[[Category:Doctor Who: Lockdown! writers]] | |||
[[Category:Doctor Who novelisation writers]] | |||
[[Category:People interviewed on Doctor Who: Unleashed]] |
Latest revision as of 18:45, 5 December 2024
- You may be looking for his DWU counterpart or the version from a meta-dimension.
Steven Moffat OBE[1] (born 18 November 1961[2]) was head writer and executive producer on Doctor Who, from series 5 in 2010 to series 10 in 2016/17. He also served as executive producer for Class. The War, Eleventh and Twelfth Doctors are, primarily, his creations. Prior to this, he wrote a number of television stories during Russell T Davies' first tenure as executive producer. He remains Doctor Who's most award-winning writer.
Prior to Doctor Who[[edit] | [edit source]]
Moffat came to Doctor Who after a successful career of writing for situation comedies that began in the 1990s. He was a major creative force on Press Gang (also his first television programme) and Coupling. His love for Doctor Who sometimes crept into his scripts for these programmes. In Coupling, for instance, the character of Steve explains the use of sofas as protection against Daleks. The character of Oliver, introduced in the fourth season of Coupling, worked at a comic book and sci-fi/fantasy specialty shop, which allowed for Doctor Who references. In one episode, for example, Oliver has a pretend conversation with his girlfriend, using a life-sized Dalek replica as the stand-in for his ex. In another episode, Oliver arrives at a dinner party wearing what he thinks is a nice, formal jumper, forgetting that the jumper says "Bring Back Doctor Who" on the back.
Classic Doctor Who writer Terrance Dicks noted Moffat's fandom in a commentary for Horror of Fang Rock, recorded in 2004 (before Moffat's work on the revived series).
Opinions of the original series[[edit] | [edit source]]
Mid-90s, early 2000s[[edit] | [edit source]]
Prior to his first script for Doctor Who, Steven Moffat was a fan who sometimes publicly opined on his love-hate relationship with the program. In the mid-1990s, he was wont to extol the virtues of Peter Davison's acting abilities, saying that the reason "he's played more above-the-title lead roles on the telly than the rest of the Doctors put together" is "because — get this! — he's the best actor." Furthermore, he has called Snakedance and Kinda, "the two best Who stories ever."[3] During a discussion after at least one round of drinks with Andy Lane, Paul Cornell and David Bishop, he claimed that although "as a television format, Doctor Who equals anything", he couldn't hold up the program as an exemplar of great television to "anybody I work with in television." He went on to call the original program "slow", "embarrassing", and "limited by the relatively meagre talent of the people who were working on it." He spoke particularly harshly of 1960s Doctor Who, stating:
If you look at other stuff from the Sixties they weren't crap — it was just Doctor Who. The first episode of Doctor Who betrays the lie that it's just the Sixties, because the first episode is really good — the rest of it's shit.
Moreover, he expressed some disdain for the Virgin New Adventures, which were, at the time of the discussion, the dominant form of Doctor Who fiction. "There's 24 of them a year. That's too bloody many! I've never wanted 24 new Doctor Who adventures a year in my life. Six was a perfectly good number." However, he did call "brilliant" the notion that the NAs "sometimes successfully" took a television program "aimed at 11-year olds" and reinterpreted it for adults, involving "a completely radical revision of the Seventh Doctor that never appeared on television."[4]
However, by 2004 when he gave an interview to Doctor Who Magazine, his opinion appeared to have shifted. Commenting on the show's prevalence in his childhood, he recalled The Tomb of the Cybermen and remarked how irresponsible it was for a show to deliberately set out to frighten children. (DWM 350) Moffat's statement on his own position as a fan was the one that most contradicted his earlier disparagement:
I don't think I've tried to deny being a fan. I've gone through the 'it was all crap' phase, but I've come through the other end now.
After writing for the show[[edit] | [edit source]]
In 2013, Moffat considered the first episode of Doctor Who, "An Unearthly Child", to "still [be] an extraordinary piece of television by any standard" and "absolutely amazing". He considered William Hartnell's portrayal of the First Doctor to be "brilliant" but found it was Patrick Troughton's Second Doctor who "[laid] down the central rules" of being the Doctor. He noted that Jon Pertwee's "showmanship" was largely in the Third Doctor's costume, and that he played the Doctor far more seriously than even Christopher Eccleston. [5]
In 2014, during the celebration of Tom Baker's 80th birthday, he found that the Fourth Doctor, or "the one with the scarf", had "quite a few of his [stories] that [were] very special". He thought that Douglas Adams' script for City of Death was "very very funny" and "beautifully plotted".[6]
Also in 2014, he found The Ark in Space "sort of sums all of Doctor Who up" with a "quite, quite brilliant movie-sized script" which was a "superlative piece of writing" and a "really, really well-told story", in spite of containing a monster which was "a bit shoddy" and the production being "a little bit overlit".[6]
In a 2016 interview, he also praised the scriptwriting and criticised the production quality of the Graham Williams era, referring to the scripts of those years as "meticulously scripted and tightly constructed". He specifically singled out the "hugely well-put-together" and "genuinely superb" script for Nightmare of Eden, a serial he had rewatched the previous night, which he found had ended up being "very poorly made" television. (DWM 500)
In 2013, he continued to love Peter Davison's performance as the Fifth Doctor. He thought that Davison went in the opposite direction to Tom Baker and that this made him "real and passionate and heartfelt". He felt that in serials like The Caves of Androzani, it wasn't so much that the Fifth Doctor was more vulnerable or less effective, to which Moffat claimed he wasn't, but that he "[made] you feel the journey in a way that Tom Baker didn't".[5]
By this point, Moffat concluded that the effects team of the BBC London version of the show were "brilliant people"; they usually had the know-how and experience to make effects shots as good as the opening scene of The Trial of a Time Lord, but they didn't really have the time or the money to realise them. Moffat "quite like[d]" the idea of the Valeyard being a dark version of the Doctor, but claimed he wasn't completely sure if he understood it.[5]
Around this time, Moffat considered some of the last stories of the original run of the show, including the "terrific script" and "very, very well-directed [story]" of Remembrance of the Daleks to be "superb", and that they "show[ed] a re-galvanised production team just really trying to deliver proper blockbusters". He also noted how the spaceship landing in this story was done "superbly" by the special effects team without using CGI.[7] By 2015, Moffat wrote that, contrary to "conventional wisdom" about the Sylvester McCoy years, season 26 was "terrific Doctor Who, on absolutely top form", one of Moffat's favourite seasons of the show, and "possibly" the only season in the classic series where he liked every single episode. He also mentions enjoying producer John Nathan-Turner's work "very much" and praised him as a "great producer". (DWM 488)
He believed that "stylistically, tonally, everything", that when you follow the final episode of Survival in 1989 with Rose in 2005, Doctor Who was "really the same show" and it "came back exactly as it left".[5]
Work on Doctor Who[[edit] | [edit source]]
Writer[[edit] | [edit source]]
Moffat's first piece of professional Doctor Who fiction was a 1996 short story for Virgin Books called Continuity Errors. Errors is one of the few non-televised Doctor Who stories Moffat has written and established a pattern of Moffat only writing short stories in prose.
Soon after Errors, he wrote the first piece of televised Doctor Who after the 1996 TV movie — the 1999 Comic Relief story The Curse of Fatal Death. When the BBC Wales version of the program started in 2005 he began writing a string of BAFTA- and Hugo- award-winning storylines, which included The Empty Child/The Doctor Dances (Moffat's first episodes), The Girl in the Fireplace, and Blink. Steven also wrote Time Crash, the first multi-Doctor story of the new series, as well as Silence in the Library/Forest of the Dead. His only prose contributions during this period were three more short stories, each for a version of the old Doctor Who annual concept.
As of 2024, he has the distinction of writing for the most Doctors on-screen than any other writer for the show, with a total of (at least) 9. As well as contributing episodes to the main tenures of the Ninth, Tenth, Eleventh, Twelfth and War Doctors, Moffat also penned Time Crash for the Fifth Doctor; The Night of the Doctor for the Eighth Doctor and introduced The Curator, who is implied to be a future version of the Doctor. Moffat wrote for the First Doctor's appearance at the end of his tenure in The Doctor Falls and Twice Upon a Time. Returning to the show under Russell T Davies in his second tenure, he also wrote for Ncuti Gatwa's Fifteenth Doctor when he penned Boom.
Furthermore, due to a cameo appearance in The Day of the Doctor, he has also written for the Curator, who is definitively revealed in other media to be a future incarnation of the Doctor, though this is left intentionally ambiguous in Moffat's story.
Due to worldwide outbreak of the disease known as Coronavirus in the year 2020, Emily Cook from Doctor Who Magazine proposed an idea to fans of a simulcast watch-along of the story The Day of the Doctor worldwide on 21 March 2020 as a way to pass the time in self-isolation, adding that if this "Who at Home" concept gained enough popularity, she would arrange more in the following weeks. This watch-along would reignite #SaveTheDay.[8] For this special occasion, Moffat returned to the writing stool to create a brand new "introduction" to the story, entitled Strax Saves the Day.[9]
Head writer[[edit] | [edit source]]
On 20 May 2008, Steven Moffat was announced as the executive producer and head writer of Doctor Who starting with the fifth season in 2010, taking over from Russell T Davies, who revived the show in 2005. He joked in a BBC press release:
My entire career has been a secret plan to get this job. I applied before but I got knocked back 'cos the BBC wanted someone else. Also I was seven. Anyway, I'm glad the BBC has finally seen the light, and it's a huge honour to be following Russell into the best - and the toughest - job in television. I say toughest 'cos Russell's at my window right now, pointing and laughing.
Although Steven Moffat cast twenty-six-year old Matt Smith in the role, Moffat had previously been quoted as preferring older actors in the role of the Doctor. "Although I loved Peter Davison and Paul McGann, probably the best two actors in the role, I don't think young, dashing Doctors are right at all. He should be forty-plus and weird-looking — the kind of wacky grandfather kids know on sight to be secretly one of them."
Major themes[[edit] | [edit source]]
Provided ID could not be validated.
Steven Moffat's work on Doctor Who has exhibited four major themes, including romance and sexuality (especially concerning the Doctor), the power behind the Doctor's real name and the consequences of time travel and its resulting paradoxes.
The most pervasive theme found within his work has been communication, both from the perspective of glitches in communication mediums, as well as metatextual narratives. The first of these perspectives has created his most iconic monsters, such as the Weeping Angel, which feature a breakdown in sight as well as our ability to represent them, and the Silent, which feature a breakdown in memory. The second can be found throughout his whole tenure, for example, in the Smith years, there was a constant consideration of the Doctor's relationship to children, and if the Doctor was best thought of as a fairy tale or an imaginary friend, an idea presaged in Silence in the Library, and echoed at the very end of Twice Upon a Time.
Other recurring elements in his stories include children's fears (whether they be bombs dropping in World War II, monsters under the bed, statues coming to life, and the most common childhood fear: the dark) and the Doctor being a very lonely soul. Another common characteristic is that "Everyone lives": of his first four stories, two of them featured no deaths at all, while the other two featured only deaths by natural causes. Another characteristic is having antagonists who are not necessarily evil, merely doing what they are made to do. Three times Moffat has used time travel to very quickly build an emotional relationship between someone and the Doctor when they encounter him fleetingly and see him again many years later: Madame de Pompadour in The Girl in the Fireplace, Amy Pond in The Eleventh Hour, and Liz Ten in The Beast Below. The reverse happens between the Doctor and River Song in Silence in the Library.
Moffat tended to use metafictional references as serious or semi-serious themes. He converted the "Doctor Who?" running joke into "The First Question", part of a universe-threatening story arc. (TV: The Wedding of River Song) He also liked to plant his themes early and let them be revealed slowly, sometimes years later. Although he first raised the theme of "Doctor Who? It's more than just a question" in 2006 (TV: The Girl in the Fireplace) and only revealed its importance in 2011. (TV: The Wedding of River Song)
In like manner, the question of the identity of River Song and her relationship to the Doctor was raised in 2008 (TV: Silence in the Library) was only answered in 2011. (TV: A Good Man Goes to War, The Wedding of River Song)
Moffat also has had the Doctor and River Song warning each other "Spoilers!" to avoid future-altering (and suspense-destroying) foreknowledge. (TV: Silence in the Library et al.)
Diversity also has been a major theme of his era. His era is notable for introducing the first televised lesbian companion, Bill Potts, as well as casting the first female Master, and introducing the concept of gender-fluidity among Time Lords.
TARDIS telephone[[edit] | [edit source]]
Moffat has used the TARDIS as a telephone box several times to surprise even the Doctor. In The Empty Child and The Bells of Saint John, the Child and Clara Oswald made outside phone of the TARDIS ring. At the end of The Beast Below, the Doctor enters the TARDIS as the console phone is ringing. In The Wedding of River Song, the Doctor uses the phone to call the Brigadier up for an adventure.
Monsters[[edit] | [edit source]]
Moffat-designed monsters have been very basic-looking, but intricately designed. The Empty Child look like people wearing gas masks, but are actually mutants modelled after a dead child and created by subatomic robots. The Clockwork Droids look like people in French dress, but are actually clockwork repair droids using time-windows to repair their ship with human parts. The Weeping Angels look like statues, but are actually ancient, quantum-locked, time-trapping assassins that feed off of time energy. The Vashta Nerada look like shadows, but are actually carnivorous swarms that inhabited trees that were manufactured into books. Prisoner Zero looks like a man with a dog, but is actually a shape-shifting worm hiding in Amy Pond's house via a Time Crack. The Smilers look like dummies, but are actually androids involved in a killer government conspiracy. Perhaps Moffat's most notable monsters are the Silence, an ancient species that have the ability to make people forget that they had ever existed. Moffat's monsters have also been highly regarded by fans as the scariest monsters, though Paul Cornell's Family of Blood and Russell T Davies' "Midnight entity" have been also regarded. [says who?]
Awards and recognition[[edit] | [edit source]]
Throughout his involvement with the revived series, Moffat has been something of a Hugo Awards "juggernaut". The episodes he wrote for each of the first four seasons; The Empty Child/The Doctor Dances; The Girl in the Fireplace, Blink, and Silence in the Library/Forest of the Dead were all nominated in the 'Best Dramatic Presentation, Short Form' category. He has also received multiple nominations during his years as executive producer. Both The Pandorica Opens/The Big Bang and A Christmas Carol were nominated in 2011, and A Good Man Goes to War in 2012. Three of his episodes were nominated in 2013: Asylum of the Daleks, The Angels Take Manhattan and The Snowmen.
Moffat set a record by winning the Hugo three years consecutively (2006, 2007, 2008), with his episodes defeating episodes of Battlestar Galactica, and a Star Trek fan film, as well as others from Doctor Who and Torchwood. The winning streak came to an end when Moffat's Library two-parter was defeated by the Internet production, Dr. Horrible's Singalong Blog, although only by approximately 100 votes.[11] Despite this however, Moffat won the award once again for the series 5 finale in 2011.
As an individual writer, Moffat has twice been nominated for the "Best Script" Nebula award (Girl in the Fireplace and Blink) and his work on Blink resulted in "Best Writer" and "Best Screenwriter" awards at the 2008 Television BAFTA and BAFTA Cymru awards respectively. As part of the collective writers of Series 3, he was also awarded the Writers' Guild of Great Britain award for "Best Soap/Series (TV)".
Moffat's work on Doctor Who has also been recognised by those writing for other well known franchises. The preface to the Star Trek novel Watching the Clock features a quote from Blink credited to Moffat.
He wrote the Hartswood Films drama series Jekyll, a modern version of The Strange Case of Dr Jekyll and Mr Hyde, which aired on BBC One in June and July 2007. In an interview with The Age, James Nesbitt, who played the lead roles of Dr Tom Jackman and Mr Hyde, called Moffat "an eccentric, shy fellow", while commending his writing as "inventive and dark and funny".
In October 2007 it was reported that Moffat would be scripting a trilogy of The Adventures of Tintin films for director Steven Spielberg and producer Peter Jackson, starring the boy reporter Tintin. According to The Times newspaper, Moffat had to be "love bombed" by Spielberg into accepting the offer to write the films, with the director promising to shield him from studio interference with his writing. He had intended to complete work on the whole trilogy before resuming work on Doctor Who, but the intervening Writers Guild of America strike meant he could submit a finished script for the first film only. In July 2008, Moffat was quoted by the Daily Mail as saying:
I could not work on the second Tintin film and work on Doctor Who. So I chose Doctor Who.
The first film, The Adventures of Tintin: The Secret of the Unicorn was released in 2011.
Moffat continued to write for Hartswood Films even after his appointment as show-runner for Doctor Who. During their journeys from London to Cardiff for Doctor Who, Moffat and Mark Gatiss conceived a contemporary update of Sherlock Holmes, called Sherlock. Benedict Cumberbatch was cast as Holmes, with Martin Freeman as Dr Watson. Four series of three 90-minute episodes, plus a special, written by Moffat, Gatiss and Steve Thompson, aired in 2010, 2012, 2014, 2016 and 2017. He won a Royal Television Society Judges Award in 2010 for his work on Doctor Who and Sherlock.[12]
Personal life[[edit] | [edit source]]
Moffat married his frequent production partner, Sue Vertue, who produced The Curse of Fatal Death and Sherlock. They have two children. While Moffat and Vertue's sons had become adults by the 2020s, at the start of Moffat's production era on Doctor Who they would have been in the target audience age range of Doctor Who. His children have been seen on Doctor Who Confidential making backstage visits to the set of The Girl in the Fireplace. Moffat has disclosed in Doctor Who Magazine [which?] that he often shares details about newly-arrived scripts with his kids. He is also the son-in-law of the legendary British television studio boss, Beryl Vertue, who is most significant to Doctor Who fans as the agent who originally negotiated Terry Nation's rights to the Daleks.
Selected credits[[edit] | [edit source]]
Televised scripted drama[[edit] | [edit source]]
As writer[[edit] | [edit source]]
- Afterword
- The Angels Take Manhattan
- Asylum of the Daleks
- Bad Night (home video)
- The Battle of Demons Run: Two Days Later
- The Beast Below
- The Bells of Saint John
- The Bells of Saint John: A Prequel
- The Big Bang
- Blink
- Boom
- Brain Trafficking
- The Caretaker
- A Christmas Carol
- Cinema Introduction to The Day of the Doctor (theatrical film)
- Clara and the TARDIS (home video)
- Clarence and the Whispermen (home video)
- Continuity Errors
- Corner of the Eye
- The Curse of Fatal Death
- Dark Water
- The Day of the Doctor
- The Day of the Doctor
- Day of the Moon
- Death in Heaven
- Deep Breath
- Dermot and the Doctor
- The Doctor Appears
- The Doctor Dances
- The Doctor Falls
- The Doctor's Meditation (theatrical film)
- The Doctor, the Widow and the Wardrobe
- The Eleventh Hour
- The Empty Child
- The End of Time
- Extremis
- First Night (home video)
- Flesh and Stone
- Forest of the Dead
- Friend from the Future
- The Girl Who Died
- The Girl in the Fireplace
- A Good Man Goes to War
- Good Night (home video)
- The Great Detective
- Heaven Sent
- Hell Bent
- A Hero like the Doctor
- The Husbands of River Song
- The Impossible Astronaut
- The Inforarium (home video)
- Into the Dalek
- Last Christmas
- The Last Day
- Last Night (home video)
- The Least Important Man
- Let's Kill Hitler
- Listen
- The Magician's Apprentice
- Meanwhile in the TARDIS (home video)
- The Naked Truth
- The Name of the Doctor
- The Night of the Doctor
- The Pandorica Opens
- The Pilot
- Prequel to Asylum of the Daleks
- Prequel to Let's Kill Hitler
- Prequel to The Impossible Astronaut
- Prologue
- The Pyramid at the End of the World
- The Return of Doctor Mysterio
- Silence in the Library
- The Snowmen
- Space
- Symphony of the Daleks
- The Terror of the Umpty Ums
- Time
- Time Crash
- Time Heist
- The Time of Angels
- The Time of the Doctor
- Truth or Consequences
- Twice Upon a Time
- Vastra Investigates: A Christmas Prequel
- The Wedding of River Song
- What I Did on My Christmas Holidays by Sally Sparrow
- The Witch's Familiar
- World Enough and Time
- The Zygon Inversion
As executive producer[[edit] | [edit source]]
- About a Boy
- An Adventure in Space and Time
- After Effects
- Alien Abduction
- All About the Girl
- The Almost People
- Amy's Choice
- The Angels Take Manhattan
- Arthurian Legend
- Asylum of the Daleks
- Backstage at the Doctor Who Prom
- The Beast Below
- Before the Flood
- The Bells of Saint John
- The Big Bang
- Bigger on the Inside
- Blinded by the Light
- The Born Identity
- Brave-ish Heart
- Breaking the Silence
- A Brush with Genius
- Call Me the Doctor
- The Caretaker
- A Christmas Carol
- Christmas Special 2010
- Closing Time
- Co-Owner of a Lonely Heart
- The Coach with the Dragon Tattoo
- Cold Blood
- Cold War
- Coming to America
- The Crimson Horror
- The Curse of the Black Spot
- Dark Water
- The Day of the Doctor
- Day of the Moon
- Death in Heaven (DWE episode)
- Death in Heaven
- Death in Venice
- Deep Breath
- Detained
- Dinosaurs on a Spaceship
- The Doctor Falls
- Doctor Who Extra
- The Doctor's Wife
- The Doctor, the Widow and the Wardrobe
- Double Trouble
- The Eaters of Light
- The Eleventh Doctor
- The Eleventh Hour
- Empress of Mars
- Extra Time
- Extremis
- Eyes Wide Open
- Face the Raven
- Flatline
- Flesh and Stone
- For Tonight We Might Die
- The Girl Who Died
- The Girl Who Waited
- The God Complex
- A Good Man Goes to War
- Heartbreak Hotel
- Heaven Sent
- Hell Bent
- Hide
- The Hungry Earth
- The Husbands of River Song
- The Impossible Astronaut
- In the Forest of the Night (DWE episode)
- In the Forest of the Night
- Inside Look
- Into the Dalek
- Journey to the Centre of the TARDIS
- Kill the Moon
- Knock Knock
- Last Christmas (DWE episode)
- Last Christmas
- Let's Kill Hitler
- The Lie of the Land
- Listen
- The Lodger
- The Lost
- The Magician's Apprentice
- The Metaphysical Engine, or What Quill Did
- Mummy on the Orient Express
- The Name of the Doctor
- Night Terrors
- Nightmare in Silver
- Nightvisiting
- Open All Hours
- Out of Time
- Oxygen
- The Pandorica Opens
- The Pilot
- The Power of Three
- Prologue (DWE episode)
- The Pyramid at the End of the World
- The Rebel Flesh
- The Return of Doctor Mysterio
- The Rings of Akhaten
- River Runs Wild
- Robot of Sherwood
- Ship Ahoy!
- Sleep No More
- Smile
- The Snowmen
- Take Two
- Thin Ice
- Time Heist
- The Time of Angels
- The Time of the Doctor
- A Town Called Mercy
- Twice Upon a Time
- Under the Lake
- The Vampires of Venice
- Victory of the Daleks
- Vincent and the Doctor
- War Games
- The Wedding of River Song
- What Dreams May Come
- What Goes on Tour...
- When Time Froze
- The Witch's Familiar
- The Woman Who Lived
- World Enough and Time
- The Zygon Invasion
- The Zygon Inversion
Novels[[edit] | [edit source]]
Target Novelisations[[edit] | [edit source]]
Short Stories[[edit] | [edit source]]
Virgin Decalogs[[edit] | [edit source]]
- Continuity Errors (Decalog 3: Consequences)
- Afterword (Decalog 3: Consequences)
Doctor Who annual[[edit] | [edit source]]
- What I Did on My Christmas Holidays by Sally Sparrow (Doctor Who Annual 2006) (later adapted for television as Blink)
Doctor Who Storybook[[edit] | [edit source]]
Big Finish Bernice Summerfield Series[[edit] | [edit source]]
Doctor Who Magazine[[edit] | [edit source]]
Doctor Who: Lockdown[[edit] | [edit source]]
Webcasts[[edit] | [edit source]]
Television pastiches[[edit] | [edit source]]
As actor[[edit] | [edit source]]
- The Five(ish) Doctors Reboot (as himself)
Video games[[edit] | [edit source]]
Notes[[edit] | [edit source]]
He won the award for writing The Day of the Doctor for "The First 50 Years" poll in DWM 474.
External links[[edit] | [edit source]]
- Steven Moffat at the Internet Movie Database
- Steven Moffat at the Doctor Who: Lockdown! wiki
- TSV 43 Four Writers, One Discussion - Andy Lane, Paul Cornell, Steven Moffat & David Bishop By Guy Blythman
Footnotes[[edit] | [edit source]]
- ↑ Radio Times
- ↑ Famous Birthdays
- ↑ Moffat, Steven. "Season 19 Overview". In-Vision #62. 1996. Posted to doctorwhoforum.com. Registration required.
- ↑ Bishop, David. "Four Writers, One Discussion" Time Space Visualiser #43. March 1995.
- ↑ 5.0 5.1 5.2 5.3 An Evening With Steven Moffat. BBC One - Doctor Who (12 November 2013). Retrieved on 6 April 2014.
- ↑ 6.0 6.1 Doctor Who: Steven Moffat on the Fourth Doctor. BBC One - Doctor Who, Season 12 (24 January 2014). Retrieved on 6 April 2014.
- ↑ Remembrance of the Daleks, Steven Moffat on Remembrance of the Daleks. BBC One - Doctor Who, Season 25 (18 December 2013). Retrieved on 6 April 2014.
- ↑ https://www.radiotimes.com/news/tv/2020-03-18/doctor-who-rewatch-50th-anniversary/?fbclid=IwAR2px8zuMfmC39ima3S1U00igAvR1lLcw6N1H1EinZCcP7itqC3i3ZMN0aI
- ↑ https://www.radiotimes.com/news/tv/2020-03-21/doctor-who-new-moffat-scene/?fbclid=IwAR0fwWcp-5Mb1GIwrsdcpb50cGsKTKCCNUmojMQUaAbzpaQHaPgIEOJjBvw
- ↑ Doctor Who official website press release on the accession of Steven Moffat
- ↑ 2009 Hugo Awards Final Ballot results
- ↑ http://www.rts.org.uk/winners-rpa