1
The Mathieson Years
A (Short) Post-Capaldi Doctor Who Timeline
A (Short) Post-Capaldi Doctor Who Timeline
The year 2016 was a demanding time for the United Kingdom and Europe. It had also been a transitional year for Doctor Who as a television series and an overall media brand. The only Doctor Who production to air that whole year would be the 2016 Christmas Special. Even though the short-lived spinoff series Class, set at Coal Hill School, had premiered that year to fill the void somewhat, the writing was on the wall. 2016 would be the penultimate year of Steven Moffat's time as showrunner, including the penultimate Christmas Special of that era.
2017 would be a conclusion, with the long-awaited Series 10, and a herald of change in terms of the series' production. Moffat had confirmed his decision to conclude his run as showrunner - noting he had already wanted to finish after Series 9 - and what lay ahead was still somewhat of a mystery.
For many months, people were in the dark who the next showrunner would be. Though various names had been bandied about, including a return of Russel T. Davies, the most frequently discussed candidates were Toby Whithouse, Christopher Chibnall, and last but not least, relative DW newcomer, but promising talent Jamie Mathieson.
As Moffat admitted later, he was utterly convinced the choice is going to fall on either Whithouse or Chibnall, with Jamie Mathieson a less likely option overall. However, things went much differently... The busyness of Whithouse at the time ultimately narrowed down the options to Chris Chibnall. Despite long discussions with Moffat, Chibnall also turned out to be wary of taking the position of showrunner. As great as Chibnall's love of Doctor Who was, he was already considering a new project idea with some of his previous collaborators. A project that emerged in the months before Moffat and co. began discussions with their potential successors.
Many were surprised when the announcement was eventually made that Chibnall, already wanting to focus on a new project, and already unsure about becoming showrunner after thinking things through recently, turned down the offer of becoming Doctor Who's new showrunner.
"It was the 50th anniversary year situation all over again," Moffat sighed in a later interview, propping his forehead up with the palm of his hand, doing a tired smile. "At first, I wasn't sure things would be smoothly guaranteed, at all. I was worried we'd get stuck and these crucial things would get resolved almost at the last minute. If they'd get resolved... After taking a day or two off from all the worries, when I even discussed all these ongoing fears and stress with Sue, I made a decision. I picked up the phone, called Jamie, asked him if he's busy. Toby and Chris didn't look like viable options anymore. The pressure from the BBC was getting huge, I and the staff from my tenure were getting genuinely nervous... I was honest to Jamie, but didn't really tell him about the nervousness. It was just a matter of fact question... Would you like to be the new showrunner ? It's going to be very demanding, but if you'd really want to do it... Luckily, he said 'Yes'."
In February 2016, after some worries and delays, the BBC announced to the UK and the whole world that Jamie Mathieson would be the new showrunner of Doctor Who, for the foreseeable future. He'd take over from Steven Moffat and hopefully bring another new direction for the over half a century old science fantasy television series, bring in new and fresh perspectives and approaches, and a new sense of fun and adventure, while respecting the series' long legacy.
Jamie Mathieson in October 2015
Equally, there was much speculation who would get to play the titular main role. As always, the previous actors left large shoes to be filled, particularly with the departure of Peter Capaldi. Though not everyone had (especially initially) appreciated his episodes and their stories in the same manner, the general consensus was that Capaldi had transformed and expanded the role like few actors before him, with the possible exception of immediate predecessor Matt Smith. It was this very same notion that upped the stakes for the casting of the new Doctor, the Thirteenth Doctor.
The worldwide fans of the series and casual viewers alike had joked for months, often in conjunction with less tabloid-y media, about who their preferred choices might be, or at least the actors or actresses most likely to get cast. Idris Elba became something of a cliché in these discussions, to the point that mentioning Idris Elba in discussions about casting the Doctor or casting James Bond would become something of a minor meme of the mid-to-late 2010s. In a similar vein, there were plenty of both serious suggestions and jokes about Tilda Swinton, and so on and so forth, about all sorts of actresses and actors.
For a while, a rumour was spread that Kris Marshall was on a shortlist to become the new Doctor. The flames of this speculation were mostly fanned by UK tabloids, online and offline. Marshall himself, though his regular appearances in Death in Paradise were drawing to a close, eventually dismissed the gossip, noting he was certainly not on a shortlist. If he was considered at all by the series' producers and new showrunner, they hadn't notified him yet. Marshall also wished good luck to whichever person would eventually land the role.
Whenever the debate about casting an actress as the first ever female incarnation of the Doctor recurred, newly-chosen showrunner Mathieson, and even departing showrunner Moffat, were often asked about which actresses would be their preferred choices, or whether the casting is open to casting a female Doctor at all, or perhaps a Doctor of non-European complexion.
Mathieson answered calmly and gently that "All our options are open. We aren't necessarily casting by looks, but by ability, by whether we think an actor or actress can embody the eccentric, sometimes a bit contradictory nature and personality of the Doctor. Believe me, we have plenty of both more predictable choices, and... plenty of, I suppose you could say... 'underdog' choices.
We've laughed a few times that we're feeling like Verity Lambert over fifty years ago, when various actors were being suggested for the role. People like Cyril Cussack, and so on... It's incredibly hard to imagine Doctor Who's earliest history with anyone else than William Hartnell, isn't it ? Mr. Hartnell was a bit of an underdog when chosen, mostly typecast for serious, sullen, glum roles. He really, really wanted to play a character that had more of a humorous, but not comic relief quality, more of that twinkle-in-the-eye quality.
Similarly, Verity Lambert was a complete underdog. Who knew Waris Hussein ? Or Peter Brachacki, who designed the TARDIS set, even if it wasn't a passion project ? Even Ron Grainer, another foreigner, from Australia, was just emerging as a composer with staying power in 1960s British television, and that legendary theme would never have emerged, had it not been for Delia Derbyshire.
Doctor Who was a series created by a team of people perceived more or less as underdogs. Sydney Newman gave them a generous chance and they created a legend. A British TV institution, you could say... So of course we're going to give opportunities for more unusual choices. For the underdog choices. For actors and actresses who can embody both that 'twinkle in the eye', joyous and funny quality of the Doctor, as well as the dead-serious, philosophical, ethical qualities of the character... and the character's fallibilities.".
In hindsight, Mathieson and crew's final choice for the person to portray the Doctor would feel like it came somewhat out of left field. When everyone is going right, you Turn Left. That's not just the title of a revival era episode about alternate timelines and alternate outcomes, it's also a small part of a longer quote by the person cast as the Doctor. Mathieson and co. didn't cast a complete underdog, but they did cast a person most of the general public and most of the fandom barely ever discussed, and only very rarely suggested.
Was it going to be the Matt Smith situation all over again ? Dismissed by almost everyone, they quickly changed their opinion once they saw that underdog in action. Would it happen again ?
----
Robotic and cyborg henchmen surrounding a corner area of some hangar or warehouse, aiming at it. They're after someone... trying to corner them.
"My, oh, my... Not only have you taken a rather nasty pitfall into my little experiments with the time vortex, my loyal ratcatchers have sprung a rather decent trap for nuissances like you..."
The cheerful, "British upper class twit" style voice is coming from a brightly lit screen on one of the walls. A cheerful voice, but one of dishonesty and menace hidden underneath that aural facade. A disembodied voice, for this is the voice of a dangerously cunning AI.
"Doctor, you might not be the last of the Time Lords anymore - oh, I know, I know -" (giggle) "- but I intend to ensure you'll be the last of your own line and kin. I get sorely annoyed when I go without stimulating amusement for too long. Hopefully I'll find something just as fun, once I'm done with you," he emphasized the last five words with an ominous laugh.
The voice is that of Gus, the cheerful-sounding, yet shady AI from the episode "The Mummy on the Orient Express" !
"Oh, Doctor, my Doctor, pity I'll have to dispose of you. I daresay I've quite enjoyed our little game, started many centuries ago. In the future relative to 'now' ? Or was it the 'past' ? Quite right, what does it even matter ! With all the experiments me and my allies have done at harnessing the time vortex, any obsessions with linearity and chronology will soon become even more irrelevant than before. Shame you won't be around to see our brave new universe."
There's a hint of a figure hiding in the shadows. A tiny hint of a sound that resembles that of the sonic screwdriver.
"Doctor," sighs Gus. "You're no fun at all today. Why don't you want to play with us, provide us with some much-needed merriment ? Why are you so quiet ? Cat got your tongue ? Saying your prayers, already ? I thought you're not particularly religious..." Gus falls silent for a moment, then speaks up again, with a very subtle undertone of frustration. "Well, what's the matter ? Speak up, Doctor. Tell me... In all your travels, all your adventures, does it ever get any easier ?"
The scene is starting to resemble a homage to the cold open of a certain older espionage film.
A close-up on a feminine hand bursting from the shadows, holding the late Capaldi era blue sonic screwdriver. A bit scratched and worse for ware, but it works perfectly all right. The iconic sound of the sonic grows louder, the sonic lighting up fiercely.
Various machinery and electronics in the hall start to malfunction, spark, blow up, damaging and confusing the robotic and cyborg henchmen. Many of the henchmen short-circuit or shoot themselves by accident, severely crippling themselves. Once the commotion ends, only the screen with Gus seems to be still working... but damaged, the screen graphics malfunctioning. Touché.
"Hm. Wait. That wasn't supposed to..." Gus' voice is stumped, sounding worried for the very first time. "Oh, fiddlesticks ! Honestly ! That was just a lucky trick with that... sonic probe of yours. A lucky trick, the repeating of which I will not toler..."
"Any easier ?" a female voice asks from the shadows, cutting off his would-be rant.
The eyes of the human-looking figure, a woman, emerge from the shadows.
Blue eyes, like the Twelfth Doctor's, but not the same. The eyes of a different person, the eyes of a woman.
"Yes," says the Thirteenth Doctor, a female Doctor.
The opening tones of the new Doctor's leitmotif. Sounding surprisingly... James Bond-ish ?!
She emerges from the shadows fully. Wearing a dark green felt coat and a knitted beret on her head.
"Considerably," she says, activating the sonic. Gus wants to holler in protest, but she short-circuits the screen.
It goes dim, Gus' voice in the room silenced... for now.
A bemused smirk appears on her face.
The smiling, pleasant, but mysterious face of...
...Ruth Wilson.
A red light lighting up in the shadows behind her, far closer to the floor.
"Affirmative... mistress," says a friendly, if slightly dotty robotic voice.
In the "Reveal of the Thirteenth Doctor" clip, this is where the footage does a smash cut to black, with the letters "Ruth Wilson... is the Doctor".
In the cold open of the Thirteenth Doctor's first episode, "A Time Vortex Extravaganza", this is where the footage transitions into the new opening titles of Series 11. (See the link below.)
An underlying philosophy in Jamie Mathieson's run as the new showrunner of Doctor Who was "taking the series into another new direction, but adopting a gentler sense of transition and keeping a sense of continuity". Mathieson argued that both the classic era of the series, as well as Moffat's concluding tenure, had normalized the notion that change doesn't need to be wholly abrupt. Capaldi's Doctor was as much a mirror opposite of Smith's Doctor as the same man, at the same time.
There would be a new TARDIS set, but one that evolved Michael Pickwoad's design, rather than wholly discarding it.
There would be a new opening theme and new opening titles, but in spirit, not a wholly new opening theme, and not wholly new opening titles. As Mathieson put it, it would be an evolution of the esthetics from the Capaldi era, rather than a complete revolution.
This also extended to decisions concerning some of the visual effects and production design staff, and particularly the decisions regarding the music composers for the series (at least as far as the new showrunner could influence it). Yes, plural, composers. One of Jamie Mathieson's more unusual decisions was that, for the first time in the series' history since its revival in 2005, there wouldn't be just a single composer working on Series 11 and later. There would be several, to "spread out the work load", as Mathieson put it, acknowledging the demanding job the series composer faced every single year, for the last twelve years in a row.
Murray Gold had voiced his desire to take a rest from the TV series after twelve years, to focus more on family and other musical work. Mathieson agreed with Gold's viewpoint, but also offered an unexpected proposal, one hard won while negotiating with the BBC higher-ups and Gold himself: If Gold would like to continue being involved with the series, but mostly as a supervisor, and most of the new workload would be handled by additional composers, he'd be glad to have him. Murray Gold was leaning more towards "Thank you, but I don't think so", but after roughly a week, he thought it through and agreed to the arrangement. Segun Akinola and Debbie Wiseman became the new composers for Series 11 onward, and Gold added to their newly-proposed ideas with his own advice and feedback, based on his long-term experience with the series.
One demand by Mathieson concerning the new version of the opening theme for Series 11 was to combine the version from Capaldi's tenure with the original Derbyshire version of the theme from the early 1960s. Mathieson reasoned that Capaldi's Doctor was starting over when he first appeared, and at the conclusion of his incarnation's life, he had learnt much from his experience, but was starting anew again. Now free from lifetimes of recuperating mentally and emotionally from the Time War and its aftermath, the Doctor was ready to go on new adventures again, while not ignoring what came before. He left calmly, at peace with himself, and started anew. And this time, it would be more literally than usual. For the first time, the Doctor would begin anew as a female incarnation, with both maturity and a new-found joi de vivre.
When Series 11 premiered in spring 2018, viewers were greeted with a semi-familiar theme. It was Hartnell and Capaldi at the same time, Derbyshire and Gold at the same time, flowing into each other and supporting each other in a mesmerizing, mysterious, but plucky and adventurous melody. Starting in Series 12, Mathieson and Gold approved of Akinola's suggestion to add more subtle reverbs to the wailing sounds in the opening theme. Series 13 would feature another mild reworking of the opening theme.
The "TARDIS flying through clockwork, a clockface, and alongside stylised spirals of the time vortex and unknown planets" titles of the Capaldi era weren't wholly discarded either. Instead, they were enhanced, given a greater degree of detail, and many of the individual elements were reworked or added to. The intro now began with a rotating mess of spiral-like or irregularly-shaped objects, zooming in quickly, revealing these to be billions of galaxies... zooming in quickly to just one spiral galaxy... our Galaxy, or Mutter's Spiral (as the Gallifreyans had called it), then continuing its rapid zoom in through spiral arms and nebulae, until the viewer was in some darkened space, that lit up, revealing the tiniest parts of a TARDIS, now zooming out, the TARDIS errupting through a stylised clock face, speeding up through the clock and riding the time vortex tunnel, spirals of energy flowing around the TARDIS, along with all manner of mysterious celestial bodies.
----
Ruth Wilson in May 2015
----
"Someone once told me, when everyone is going right, go left... I think that's a great piece of advice. Always do, what's not expected. And not just of everyone else, but of yourself. So, go where the challenge is, go, where you haven't been before... The things that, yes, scare you, are often the things that you're going to learn the most from. So, go towards what scares you. I know when I'm inspired or when I'm excited by something... and it's when... I can feel the energy in my body, and it's because I'm scared, I don't know how, I'm going to do it... That's when I know it's something I should do, because it's when I'm gonna work harder, it's when I'm gonna really focus, it's when I'm gonna be really challenged. I don't know what the outcome is, but it will be interesting..."
Ruth Wilson in May 2015
----
- Ruth Wilson, in an online interview
----
"Actually, that we also hint at a certain cheerful robotic dog was meant to soften the overall surprise. Everyone was waiting for The Big Reveal of who'll play the Doctor. And then I throw Gus at you, a villain I invented myself... And then there's the other reveal, of who the Doctor's companion might be... We were betting on you not expecting that, and focusing on that just as much as on our casting of the Doctor.
Does it raise lots of questions ? If it does, then that's excellent. We want the viewers and fans to have plenty of questions, to feel intrigued by what might be coming soon, in the series' nearest future. We want the series to be thrilling, fun, never lose its sense of humour, but to also remain thoughtful and engaging. We don't want kitschy melodrama. Doctor Who, as we see it, should be a place you go for some adventure, a good laugh or two, and have an episode leave you with things to think about, and some genuine, sincere emotions.
(...)
Did we think of Ruth Wilson as something of an underdog, an unlikely choice for the new Doctor ? Some people reminded us of that, but we didn't ponder it much, almost not at all. Whether you're expecting her to be cast or not, we made our choice based on many criteria similar to those used while casting Peter Capaldi. We wanted someone who's a solid dramatic actor, and above all, also a very human actor. Someone who's just as likely to portray a character very, very seriously, even handle a good deal of moral ambiguity and falliblity when needed, as portraying a character as lovably eccentric, witty, sometimes downright madcap... being able to smile and laugh with heartfelt happiness and conviction, and even having some 'shrinking violet' moments every now and then. Ruth can embody those very human, very relatable, but also very eccentric, very alien qualities of the Doctor, like few other actors and actresses."
- Jamie Mathieson, 2017, after the reveal of the teaser scene from the thirteenth Doctor's pilot episode (with Gus and a hint of K-9)
"Will our new Doctor, the Thirteenth Doctor, ever visit Gallifrey during her travels ? Who knows... (smile) It hasn't been that long since the Doctor visited Gallifrey, in an, I believe, satisfying closure to a very long and very patient story arc. Gallifrey is out there. It's not going anywhere. The Thirteenth Doctor is fairly certain it's going to be all right. She knows her people are out there, with all the flaws and follies, and also all their strengths and admirable qualities. She doesn't need to visit there, attempt to visit there, anytime soon.
Bear in mind: Gallifrey is the only planet in the entire universe, that, though it's the Doctor's homeworld, is the only place where the Doctor can't be the Doctor. His or her identity is based on the identity of being a wanderer and adventurer, a Time Renegade, as they are called. Whether it's William Hartnell's Doctor, or Tom Baker's, or Peter Capaldi's, or Ruth Wilson's version of the Doctor, the Doctor can be at ease with their identity if he or she is in the TARDIS, travelling about, solving mysteries, helping out various peoples... That extends to Gallifrey and its people. But it's not some place the Doctor wants to visit regularly, or even retire there.
So, in short, I don't think you're going to get any episodes, anytime soon, where the Doctor's on Gallifrey again, something bad has happened to it... again... and the Master's involved... again... and the Daleks and Cybermen might be too... again... You get the picture. (laugh) We're not going to be blowing up or destroying Gallifrey, or making up some pointless revelations about the Doctor's deep past, or anything of the sort. There's far more options for interesting stories and storytelling available, the thrilling and the amusing. My script for The Mummy on the Orient Express started from what amounted to a throw-away joke by Steven Moffat, in a script for an episode of one of his earlier series... But even basic, seemingly silly ideas can be developed into good quality episodes, blossom into something much more. That's our core philosophy while we continue Doctor Who with Ruth Wilson and the rest of the new cast. Have fun, be creative, take it as seriously as you need to, and don't overdo it."
- Jamie Mathieson, in an online interview during the premiere run of Series 11 in spring and early summer 2018
----
There are several subtle PODs involved in this mini-timeline. The most obvious is Chibnall starting some project and voluntarily and politely declining to become showrunner. Another is that there is earlier fallout from the behind the scenes issues of the series The Affair, where Wilson played a lead role during the mid-2010s. In this ATL, she feels more unsure by the first half of 2017 and decides to take a longer rest from serious or dark dramatic roles she'd been in for much of the past decade. That ATL interview with her is actually touching upon an actual OTL interview, so I didn't need to make up any opinions.
Last edited:
"