It used to be that the cliffhanger ending in Doctor Who represented a moment of dire peril for the Doctor or his companions.
The recruitment of acclaimed fantasy author Neil Gaiman – best known for The Sandman comic book – has been the surest indication of Moffat’s desire to push Doctor Who further into the realm of imaginative fantasy .
Doctor Who has always had a particular fascination with Victoriana. The Doctor himself represents different aspects of Victorian values, combining the scientific rationalism of Charles Darwin with the bohemian intellectualism of Oscar Wilde.
One of the features of Steven Moffat’s Doctor Who has been the greater attention paid to the TARDIS as a central aspect of the series.
Neil Cross’s first Doctor Who story, ‘The Rings of Akhaten’, set the bar very high indeed in terms of both its visual and intellectual imagination. ‘Hide’, if not quite matching the overall quality of that story, was nevertheless another very distinctive episode.
A particular trend over the last couple of years in Doctor Who has been episodes that are apparently based on recent popular films. Pastiche though in Doctor Who is nothing new.
One of the distinguishing features of new Doctor Who, in contrast to the classic series, is that at last the show has been afforded the level of budget and production values to match its intellectual ambition.