New Whovember has concluded: Three Doctors, Two show runners and War Doctor in a right state…
The 50th anniversary saw Jokerside take on the 26 years of classic Doctor Who, so it was only a matter of time before the New Series came under the sapce-time visualiser.
NEW WHOVEMBER FOUND ITSELF IN A VERY DIFFERENT UNIVERSE FROM ITS CLASSIC FORBEAR. So the Classic Whovember recap ran, that “monumental 26 year run stretching from Totter’s Lane in East London on a fog-bound night in 1963 to the sun-drenched, cat-stalked streets of Perivale” to Millennial San Francisco took its leisurely time and eight Doctors. When the show came back, the show needed to update and almost everything changed.
The 10th anniversary of the new series takes place at the end of this month, when Jokerside will take a long look at the how ten years of the new series compare with 10 years of the classic run. But first, a summary of the recently completed New Series Whovember. With its own Fourth Doctor at the beginning of a hopefully long run, it falls to a trilogy of Doctors who include one of the shortest serving and two of the longest running.
The spirit of the original Whovember remains, where each article took an individual Doctor and a different, crucial aspect of the show’s myth and viewed them through the prism of a plot arc or set of serials. It wasn’t an exact art then, but the new series posed new problems, with the most complicated and arc-based era of the show’s 50 years setting some stern challenges. As usual, a little seen episode or a fresh viewing would set the parameters…
The return of the one giant and previously missing Who staple… The Cliff-hanger!
There was little steer when it came to the single series of the Ninth Doctor. But one idea seemed irresistible, albeit a little horrid. The Slitheen. These green and bulbous aliens managed to make quite an impression on the reborn show. They would spill out quite happily into spin-off series The Sarah Jane Adventures but while they never made the impression that the Weeping Angels would and have fallen away from monster montages they played a pivotal role in that first series. Not only were they the focus of the show’s first two-parter and therefore cliff-hanger, but they were also the first new ‘monster’ to earn a return appearance.
For all the other highlights of that first series, it’s a delight to find that the mini-Slitheen arc in Series One is solid and show advancing stuff. Running just before the series finale, Boomtown is the first of Who’s bottle episodes, something that would stretch ingenuity with incredible results in subsequent series. For its lightweight approach, it made room to tackle difficult issues:
“The idea of a death penalty quickly ruins Rose’s fun, but the Doctor is strangely certain. Surely that “Not my problem” response can’t be retained. The TARDIS necessitated 12 hour delay gives plenty of time for contemplation aboard the ship Margaret terms as “technology of the Gods”. Little religious quips like this help immeasurably in backing up the moral issue at stake. When Margaret succeeds in her last request, a strangely jolly walk see the Doctor and Margaret on their date as Mickey and Rose similarly dine over a difficult topic. There’s lovely balancing and a sea of greys. And still writer Russell T Davies gets to shoehorn in some physical comedy and a slight love note to his Cardiff.”
But earlier in the series is where their true impact lies. Having popped from the present to the future to the past, Aliens of London’s return to the present day had a lot riding on it and showed that Davies was willing and able to chuck the kitchen sink at the show. It’s let down slightly by tone and CGI/prosthetic comparisons but rarely. The cliff-hanger is understandably overloaded, but is instantly more forgivable as these aren’t jumped. Sadly jumped cliff-hangers would become a bit of a staple later on (more of that in Whovember #11). Most importantly, while this explosive two-parter would lay down much of the structure (Harriet Jones, the new UNIT…) what’s most impressive is how political the show could become. As Whovember #9 observed:
“Here the message couldn’t be clearer… World War III was produced eight years into the Blair administration, a few short years after the War on Terror and the invasion of Iraq. The resolution hinges on the ‘nuclear’ codes that reside with the UN “Given our past record”. The danger, it’s suggested is this time very real with “weapons that can be deployed in 45 seconds”. Here it is England who provides convincing evidence to the UN that these weapons of mass destruction do exist. At home Jackie is glued to the TV.
“If there is any doubt, the story ends with Number 10’s complete and very real destruction after a Bond-plot ruse. Of course, there would be repercussions, hinted at the by the Doctor’s inability to remember where he has heard Harriet Jones’ name before. Her glorious destiny as the glorious architect of the golden age of Britain would prove to be a movable point of time – thanks to the Doctor’s intervention… “Oh B…” the Slitheens’ last words cut out… And Davies has managed to not only destroy Number 10 but replace the head with a character of his own choosing!”
Doctor Who was back on prime-time and back to stay. And so was Russell T Davies.
The Start of the slow path… The Running joke of the Queen who never turns up.
The Tenth Doctor seemed particularly suited to historical stories especially if they’re packed with celebrities.
When it came to the 50th anniversary Steven Moffat crafted an interlinking set of definitive Tenth and Eleventh Doctor stories. With Eleven, it was a time stomping creep-fest, replete with monsters hidden as statues and paintings. Meanwhile, the Tenth Doctor was found in the midst of an historical, atop a horse and getting himself in romantic scrapes. Of course, it felt exactly like the Tenth Doctor’s natural habitat, but more of that next time. The first half of this Whovember showed that this Doctor would rather rub shoulders with royalty than anybody else. First came the light but fun race from a Werewolf in Victorian Scotland in Series Two’s Tooth and Claw, with the Queen herself in attendance. Despite the successful resolution, it’s the Doctor’s devil-may-care attitude and a quite surprising lack of respect from the TARDIS crew in general that leads Queen Victoria to banish the Doctor and form the Torchwood Institute. As Whovember 10 (Alpha) suggested…
“Victoria’s portrayal shows the Doctor as out of touch and the TARDIS crew’s conduct as unhealthy like never before. “Not my world” as the Queen says. That the Doctor really misreads the situation is an important one: For a Lord, he may hate authority figures but this is different – he’s just not good around Royals.”
It was a short jump before he found himself brushing shoulders with a famous figure from French aristocracy. Steven Moffat’s The Girl in the Fireplace remains one of New Who’s masterpieces. Elements would be referenced in episodes to come, and when it came to the Twelfth Doctor’s premiere, Moffat chose to make a direct sequel to this show. The Clockwork Droids may not be instant classics, the Doctor’s complete forgetting of the time differential doesn’t make for a wholly satisfactory ending, but this definitive episode did more than just further the Royal agenda as Whovember 10 Alpha observed:
“The idea of the Time Lord taking the slow-path is a compelling one. It helps reinforce his alien qualities, something that would be greatly explored by his successor. And while it does feel ever so slightly strange that he’s so happy to stay and catch up with his companions in so many millennia later it would prove a definitive move for this Doctor. Imagine how that could have ended – a different Doctor being introduced there and then to Rose and Mickey. You almost expect the Tenth Doctor to try to escape, or at least pop up in Rose and Mickey’s time. But then it’s Reinette who gives him the route out. Perhaps the oddest, but most crucial part is that when the solution’s found, the Doctor somehow forgets the time differential despite his imprinted biography of Reinette.
“Playing like a microcosm of the episode, we then have the dawning realisation then visual pay-off that Reinette left Versailles for the final time at the age of 43. It’s tinged with an inevitability that the show seldom reaches. Back in the TARDIS, the Doctor dismisses the emotion with his “always alright” line alongside that soon to be very familiar Moffat component – the letter. And as the fire goes out and the TARDIS disappears there’s the great reveal of the ship’s name as SS Madame de Pompadour. It’s all hauntingly sad and also utterly brilliant – quite possibly Moffat’s finest hour; sitting distinct but in the vein of the others in this retrospective.”
The final episode took the Doctor and Dr Martha Jones to meet Shakespeare in Gareth Roberts’ well composed The Shakespeare Code. Much fun is had with the Bard – who despite many flaws proves to be the most human human while displaying uncanny supernatural vision. Six years before the Anniversary took the Doctor back to Elizabethan England and the question becomes even more relevant, the Bard asks “why would a man hide his title in such despair?”
And Elizabeth, yes. Elizabeth. She’s not happy. When she eventually turns up Whovember #10 Alpha observed…
“Doctor, my sworn enemy. Off with his head”. The Doctor’s shown as pernicious once again. Another season, another falling out with a Queen of England. And it would take a big date (for the two of them) to find out why.
Yes, while so much of the show’s biggest culmination so far was laid in these shows but it would take some time to get to grips with the answer to that one.
#10 (Omega) – Celebrity Histories “I’m Going to be King. Run!”
“History’s back in place and everyone dies”
Into later Tenth Doctor, with all the stories under consideration by Whovember #10 Omega taking place during Tenant’s last series and specials. In many ways this was the New Series high-point.
From the streets of Rome in The Fires of Pompeii to the stately home hi-jinks in The Unicorn and the Wasp the colour and confidence are high – very much the result and reward of a consistent production team over four years. Pompeii made good use of the sets left by Rome. Along the way the Doctor’s name, or lack of, comes under scrutiny once again, thanks to emerging psychic powers: “Your real name is hidden. It burns in the stars, in the Cascade of Medusa herself”. But amid a fine cast and a nice script from James Moran* that makes way for Peter Capaldi’s first trip to the Whoniverse, most important was the return of fixed points in time, as Whovember #10 (Omega) remarked:
“There is a direct opposition between the words of the High priestess and the death sentence that rather dilutes a moral core that already seems just slightly too complicated. But it proves effective in the scheme of things, particularly reinforcing the Doctor as the herald of bad luck in a series that adds more creeping dread than others. Perhaps better in the mix of the series, the Doctor’s actions in Fires require a tremendous amount of buy-in. It sets companion and Doctor in opposition and with a few emotional tugs, sees him relent to save Caecilius’ family. Elsewhere, in terms of utter devastation, it’s one of the more effective time stormers. Pompeii is there to see right now.”
The Unicorn and the Wasp took us to the England, and for the first time with barely a dash of royalty to be found. It’s frivolous fun, again from the pen of Gareth Roberts who’s undoubtedly one of New Who’s most reliable writers. For all the easy fit historicals make with the Tenth Doctor’s tenure, it was achieved by a far narrower scope and writer list than might be expected.
With only the link of Empire bringing the monarchy anywhere near, Agatha Christie still brings a pragmatic throwback to the Victoria of Tooth and Claw. Indeed the script also makes a number of references to that Scottish chase. This Doctor hasn’t grown up very much at all – and the infamous poisoning scene is only saved by the fantastic comedy of Tennant and Tate. While Whovember #10 (Omega) praised the continual and incredible development of Donna during this series, it was impossible to avoid the growing melancholy of the tenth Doctor’s life:
“If anything Unicorn’s conclusion reaches back to the end of The Unquiet Dead, with the slightly dampened power of familiarity. Perhaps not the neatest cycle as, aristocracy ripped apart, the Tenth Doctor ended his final proper Celebrity Historical. It was then away to that library and a date with his future. It’s funny how often books appear and reappear over time…”
That was the last Tenth Doctor historical, finishing his past adventures on a rather sad note. Fortunately the 50 anniversary would bring a reprieve with the fantastic Day of the Doctor taking a perfect step back and even manage to solve a few questions along the way. To avoid dwelling on the massive success of the episode, it’s fascinating to dwell on the links Moffat brought into this celebration. Far more than his reputation would suggest.
No Royal has been treated disrespectfully in Who, and now Queen Bess proves that again, often way ahead of her maybe-paramour. We learn why she was frosty to him later in his life (The Shakespeare Code), but Whovember #10 (Omega) found links deeper than that:
“While the next adventure would resolve the Trenzalore story arc, it’s impressive how many seeds to that resolution are hidden not only in The Day of the Doctor but throughout his brushes with celebrity. In the anniversary special, for all its references and clear delineation of eras, the strength of the historical adventure remains. Moffat even takes time to return to one of his brilliant early additions to the ‘genre’. In The Girl in the Fireplace the Doctor happily chose the long way round. And in Day, after a past/future visit from the Great Curator and the reveal that Gallifrey Falls No More (a painting acquired in remarkable circumstances) he finds solace in it once again.”
It’s an answer hidden in plain sight all over again. He knows where he’s heading:
“Where I’ve always been going. Home, the long way round””
#11 (Alpha): Silence – “Fooling you twice the same way”
Just hours after one of his most explosive regenerations, the Eleventh Doctor was ear to the wall…
The Final Whovember had the trickiest task. Even a cursory glance shows that Moffat’s reign as Who supreme brought the most complicated and intertwining story lines in 50 years. It was the Silence that threatened this incarnation from birth to death – over three series of intrigue and murky entanglement, over (at least) three plots until the association was ended on the fields of Trenzalore. The sheer weight of stories and plot laid down a challenge that this Whovember split in two. First the Silences nefarious and abstract plots against the Doctor, and second when they called in the big guns – the tall, electric and forgettable Silents. To start with their absence, Whovember #11 (Alpha) kicked off with the Sublime Eleventh Hour:
“With a sideways TARDIS that has somehow spiralled back in time (Amelia Pond doesn’t really exist in the present day, this is, unfortunately and conveniently, the mid-1990s). And the first words of the series? “Can I have an apple?” Sat atop the doors of the upturned TARDIS, the Doctor coughs regenerative juice after hearing about the crack in Amelia’s wall. “Does it scare you?” Yes it does. And there is nothing short of pure, bottled Doctor Who Ladies and Gentlemen.”
After Series Five hadn’t quite ignited the way latter Tennant had, The Pandorica Opens broke from the problem of change for change’s sake. Beautifully produced, it chose the misdirection of the Pandorica Alliance over answering the brewing question of the Silence, a neat inversion:
“The inevitability of the TARDIS explosion had been mapped out all series. The Doctor knows that the future will see an explosion, and knows from the fragment he retrieved that it’s the TARDIS. It all makes for a rather glorious ending, replete with three way cliff-hanger, slow-mo and a threat to all of reality. Only that could unite this motley alliance of monsters, many of them gaining time abilities for the first time to cameo.”
Sadly, it also set in motion some of the worst traits of the Moffat Tenure:
“And if you’re wondering how supernovas signal the end of the universe you’re about to become very disappointed”
While the season finale The Big Bang certainly has bombast, it was a disappointing step into convenient paradox and cliff-hanger jumping that failed to do justice to its prequel. And in salvaging a bizarrely reduced universe, we learn nothing about the cause of its destruction. Little did we know that this would go on for a while…
“That Moffat has called The Big Bang one of his favourites is worrying if not surprising… For all the witty fun it serves up, it’s certainly a far cry from the tightly coiled stories with which he carved his Who reputation.
“Of course the something that abducted the TARDIS and blew it up, destroying the universe in the process, isn’t uncovered. The Silence, whatever it is, is still out there. But this Doctor, like his successor, are in no great rush to find out what could have easily accomplished this horror show. Narratively this is a far stronger force than the Pandorica Alliance; the greatest threat he’s ever faced. But then again, it’s a whole new universe and there’s an Egyptian Goddess lose on the Orient Express that’s far more appealing (or possibly not, as it’s contradicted by Series 8). The Silence are off the hook and would need a Plan B, if they could possibly realise they failed what with it being a wholly new universe and everything… Fortunately, that night aboard the TARDIS, the Doctor’s companions are providing the Silence with just such a second chance…”
There then followed two wee anomalies, charting the third and second plots of the Silence, though wrapping up the very related River Song arc at the same time. A Good Man Goes to War showed the Doctor on the front foot, as if he’d almost “made this universe easier for himself” following The Big Bang, although ultimately deceived in a fairly nasty twist. It’s an odd episode, a product of the split series structure where amid the complexity it’s almost like easing a valve on a drip, of which Whovember #11 (Alpha) observed:
“Shades of grey abound, despite an unclear motivation. There are moment of brilliance (the attack prayer) and horror (the Flesh Melody, shudder) but most important is the shift in character.
“Rory is very different here, as is Amy. The Doctor loses and there’s even Marine Lorna Bucket to make him feel particularly bad about it all. It delves into huge topics – balancing the Doctor as a weapon against God against childhood and motherhood. In fact, so heavy that it ends up as a strange anomaly in the series format. And perhaps it’s the most effective display of immutable time because of it. True, it would find marvellous companion pieces in the next episode and series finale, but this is almost un-Doctor Who. As the prolonged Gallifreyan/Language of the Forest reveal proves River Song to be Melody Pond so a rather touched Doctor flies, leaving his beleaguered army behind. Amid this strange conclusion the reveal of the next title is a definite highlight.”
Melancholy and downbeat mid- and full-series finales would become the norm, often matched by an overworked rhyme. That made Let’s Kill Hitler, the foiling of Silence plot 2.0 all the better. “There’s a lot of fun, history, silliness and hard science-fiction on the way. So hang on to your helmet.”
In fact, as it goes, Whovember #11 (Alpha) could only find one fault:
“If anything scuppers this fun, it’s that Moffat’s second regeneration episode shows a Time Lady miraculously free of the post-Regeneration trauma and confusion that always afflicts the Doctor. Perhaps it’s because she’s trained and conditioned for one purpose, the Doctor’s bespoke psychopath, but as Series Six is so riddled with regenerative tricks it particularly sticks out. Particularly strange is the fact way the Eleventh Doctor talks about regeneration yet again – he should be very aware that he’s in his final incarnation, and there’s no need for him to be caught by a poison that can stop it.”
Thank goodness everyone had forgotten about regeneration, lest it had been too easy for the quiet ones!
#11 (Sigma): Silents I – “You should kill us all on sight”
“If you think that might turn out to be a classic Moffat trope, you’re proved right immediately.”
So, the final Whovember moved onto the Silence singular – mysterious, lanky and forgettable envoys who were pulled in to ensure at least the semblance of a chance.
Series Five gave us the first hint, not that we would know it, of which Whovmber #11 (Sigma) observed:
“It’s fitting that the first episode to impact the Silents features neither the Silents nor Silence, but dwells on deception, reality, dislocation and memory…This episode, slight filler as it may appear, is all about building anticipation. Whether the events of The Lodger are connected to the three main plots of the Silence or some unspecified fourth attempt are unclear, but something’s for sure: The Silence was well on its way to interfering with the Doctor’s life.”
It was the huge two-part premiere of Series Six that showed us what the Silents looked like. A fantastic opening, prettily built on a riddle:
“It was stunning opening and it needed to be. Series Five had fallen a little flat, with the massive changes for changes sake taking a while to sink in and the muted colour scheme contrasting sharply with the colourful excess of the Tenant years. A Christmas Carol however, had set a high bar as one of the greatest specials, and a wonderfully complete and self-contained impressive festive edition. So, thank goodness Series Six had the nouse to attack its audience so determinedly. And it would start arguably the most consistently great half-series of the show since Who returned… The palette, the scope, the locations – it all looks beautiful. And then with the first appearance of a Silent in the western haze, Murray Gold meets the occasion and then there’s a spaceman in the lake. It’s an iconic image, and one that obviously had much of the plot worked around it – a plot that would stretch for a while. We’re in the midst of the Silence’s final plan, and it would take all of Series Six for that to unravel.”
Unfortunately the second part did what you may expect, although Whovember #11 (Sigma) couldn’t help but applaud to an extent:
“But, when it comes to handing out credit, this is the Moffat cliff-hanger jump to beat all others. It’s infuriating, but at least it’s high concept. Amy running from Canton in the Valley of the Gods, Utah; the Doctor being slowly encased in a new Pandorica of dwarf star alloy in Area 51; River diving from New York skyscrapers hoping for a TARDIS rescue and; Rory who’s clearly seen more Silents than anyone.”
Fortunately, most of the episode falls on the hauntingly Arkham orphanage where we begin to piece things together.
“Day of the Moon, for the many faults of its opening, and its disparate resolution, is good fun. There are memorable scenes, particularly when the TARDIS crew is split up and Canton and Amy end up on the rather unsavoury hunt of the little girl they encountered in the first part…With the link drawn the real question is why and how millennia on Earth could form any part of their plan?
Crucially, as Amy nears the truth, there’s the first random appearance of Frances Barber’s Madam Kovarian, scrutinising and sneering, “No, I think she’s just dreaming”. Peering from an impossible hatch on the door of the room that housed the girl they’re looking for yields the revelation: The photograph of Amy and her baby, then the appearance of the astronaut, the girl inside, Amy’s relief and a bodyguard made of well suited Silents. If you haven’t even thought that the little girl is Amy’s daughter by now, you’ll have plenty of time to work it out…”
It’s an extraordinary piece of galactic genocide on the Doctor’s part at the end, no matter how unnecessary the millennia-long infiltration of the Silents may be. We’d see more rather uncharacteristic murder from the Doctor across Series Six and Seven but at least at this point we don’t know that the Silents are actually priests…
#11 (Omega): Silents II – “Back to back on the fields”
“The bow tie falls and the Raggedy Man is gone”
Yes, that resolution was a little way off. The Doctor would soon lose the Ponds and spend a year trying to solve the mystery of the Impossible Girl. That was a plot where the role of the Great Intelligence would have been better fulfilled by the Silence. The Whispermen were shallow riffs on the Silents themselves. Still, there was a slump they’d have to endure before we got anywhere near answering what the Silence is, after The Name of the Doctor and The Day of the Doctor.
It began with the last few moments of Closing Time, forever ruined by its love versus Cyberman climax, where the newly Professored River Song was kidnapped by Madam Kovarian, a gang of Silents and THAT spacesuit. It was finale time, with an extraordinary exploration of fixed time that gave us a parallel universe and all the fun and nonsense that could provide. Unfortunately, while the Silents get to fight and horrify in equal measure, as well as threaten in quite un-priest-like ways, the end of Series Six couldn’t come close to matching the promise of the series premiere, as Whovember#11 (Omega) observed:
“Truly shambolic. Jokerside is therefore forced to consider The Wedding of River Song as the nadir of new Doctor Who. It’s shamelessly nonsense, even surpassing the horrid paradox get out of The Big Bang. While the enjoyable romp of Let’s Kill Hitler managed to undermine the efficacy of the Silence, exactly one half series later Wedding manages to ruin River Song. What is strangely neat, is that in many ways, through retconning and association, both are quite nice thematic sequels to The Eleventh Hour. Watching them back to back may jar, but it provides a small and quite extraordinary comfort.
“So, the Silence has been defeated once again, and it’s a year off for the Doctor of Twilights of Ponds and Dawns of Impossible Girls… But still some questions remained, especially one that we couldn’t possibly misinterpret:
“On the Fields of Trenzalore, at the fall of the Eleventh, when no living creature can speak falsely or fail to answer, a question will be asked — a question that must never ever be answered: “Doctor who?”
We would have to wait until Christmas 2013 to get the answers we needed. Could it be a better resolution than Series Six earned?
Indeed, the Silence arc concluded when the Eleventh Doctor fell. It had been a long wait, but for the Doctor it was even longer. Hundreds of years fighting the good fight on the fields of Trenzalore made him quite reasonably the longest serving incarnation of the Doctor. I can hear the Sixth Doctor looking on grumpily. The Time of the Doctor was fine send-off for the Eleventh Doctor and even though the Silence questions were resolved in fairly few lines of exposition, we even got to see the movement formed aboard the Papal Mainframe we first heard of in A Good Man Goes to War.
Wonderfully it jumps the montage that had dogged Moffat finales and didn’t have the chance to jump any cliff-hanger. Jumping regenerations was a different matter, As Whovember #11 Omega noted:
“If this is clearly and well understood to be the Doctor’s final life then the Silence’s plot has been unnecessarily complicated. The poison from River, the way he made the Tesselecta mimic regeneration in The Impossible Astronaut/The Wedding of River Song. All utterly redundant. All they needed to do was hang on until he collapsed.”
Perhaps a universal treadmill would have done it. That said, Time seeks to combine everything and doesn’t make a bad stab at being the regeneration story it needs to be:
“We always knew it wasn’t over. There in the tower is an all too familiar shape, the return of the crack between reality, the one we first saw in The Eleventh Hour. A reference to The Big Bang signals that this really is a farewell tour. The final crack, the leftover and… The return of the Seal of the High Council stolen from the Master in the Five Doctors! Oh joy upon fan-boy joy!”
And as for the gangly foes, they got a nod and even exterminated redemption:
“For their last appearance, the Silents have wheeled out a new catchphrase and it’s scarier. “Confess” they hiss…. 300 years on Trenzalore understandably add to the Doctor’s understanding. Aboard the Mainframe one last time, the Doctor explains that the Silents, lined up alongside him, are confessional priests; a very popular idea, as they’re genetically engineered to ensure that people forget everything they tell them. It’s a gag, a fairly cheap one, with a kick to religion to match. All this time, sine the wheel was discovered, the Earth had been guided by confessional priests of a militant religion far in the future. At least that explains why they weren’t able to build anything themselves.”
And perhaps the greatest thematic link of all comes from the standard melancholy. Above it all, despite the japes and adventure, the Doctor’s Eleventh incarnation, his longest lived, was always tinged with sorrow:
“Even worse than the slight inconsistencies, is the fact that the cycle of the Eleventh Doctor has been strangely inevitable. It’s a horrid thought in Doctor Who if you think about it. All that time, since his first appearance, during his longest life, his early days were rooted in the moment of his demise.”
The Silence arc had concluded but as Whovember #11 Omega noted, as the Doctor was reborn:
“And with him the Silence is completed. And in a way, I guess it won. The Doctor survived. But Silence fell.”
The Whovember series concluded over 16 months.
Next comes the flip-side. Prepare for the #Marchster take-over…