Doctor Who - Série 11

Once upon a time, it was said that with Moffat behind the camera and Smith in front of it, the series goes through a certain restart, but I never understood such theories. I understand them now, when a few years later they reappeared with a new regeneration of the Doctor and the main screenwriter. The first case is surprisingly the smallest change. Jodie Whittaker is magical, courageous, crazy, brilliant, and often "Tennant-like", so I am delighted with every monologue or typical doctor's bluster. However, the unexpected change is the concept where the main character (unusually with a large number of companions) is more a part of a collective than an extravagant soloist. The magic of the sonic screwdriver at the eleventh hour and a lot of incomprehensible technical-alien ramblings associated with it are of course not missing, but both are at least in the entire history of the modern era. Chris Chibnall as the new showrunner tries to entertain and educate in equal measure. I don't mind this approach, on the contrary, trying to overcome Moffat's grandiose disasters, plans, and conflicts extended calmly through the entire regeneration would be completely impossible. However, for the modern spoiled and perpetually negative audience, this is a red flag. At that moment, the series forgets that it has always conveyed messages of peace and prides itself on the fact that it doesn't matter how anyone looks or where they are heading in life because in this case, important thoughts are said directly and the writers don't usually wrap them in elaborate settings. While not only the local ratings in the eleventh season are strikingly (and, let's face it, biased) stumbling, to me the humanistic Rosa, socially critical Kerblam!, or pleasantly feminist The Witchfinders beautifully fit into what I expect from adventures in space and time. Despite all my praise, paradoxically it is the weakest season since Eccleston's escapades. Although I enjoy all the companions (especially Graham), at the very beginning Jodie confirms that she is the right choice and the selection of a new composer is successful, many times I was disappointed that apart from exceptions and a few subtle hints, it is not a coherent story. The family line subtly winds through multiple episodes, but otherwise it jumps purely episodically, whether to the past, future, or back to the strange present. No episode is bad (the only one that felt a bit lacking was Demons of the Punjab), but often a good idea is brought to a decent or pleasant end, and rarely to a truly first-rate one. It's fine, I enjoy it reliably, and the annual break greatly saddens me, but at the same time, I know very well that it can be even better. (14/05/2024)