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- Seen Jul 7, 2014
It doesn't really work. The Angels weren't planning on catching Amy and Rory, they just stumbled into it.
Ten... ...also had the best regeneration (out of 9, 10 and 11).
how 11 is less sexualised over all.Doctor: I dunno, I think that Amy's case might be more to do with how 11 is less sexualised over all.
Not really, no. He was way too whiny and melodramatic, and I think he set up an unfair bias against 11.
There is also not a lot of female sci-fi writters in the U.K that are available. I read somewhere that he has asked (along with RTD to do a episode again). But most wern't that intererest, busy, or some other reason.On another note, found an article that's talking about the distinct lack of female writers over Moffat's reign. With mentions of a lack of racial diversity. Still making me sad, man.
Well, you have to look at who's available and has some experience in genre TV. Helen Raynor as far as I'm aware hasn't written anything for TV since 2011 and after the bashing she received from certain areas of fandom, I'd be surprised if she wanted to return. Chris Chibnall keeps poaching Catherine Tregenna (Torchwood) to write episodes of Law and Order: UK, so that's kind of a block there. Lucy Watkins is possibly available, but I'd rather the writers of Atlantis were kept as far away from the show as possible. The likes of Wallander and Dirk Gently have a pedigree. Atlantis does not. There's Jane Espenson, I suppose, but she lives and works in America (and with RTD was co-lead writer on Miracle Day so that's not the best of ideas either). Vanessa Taylor presents the same problem. Julie Rutterford isn't really a genre TV writer, despite an episode of Life on Mars and 3 of Ashes to Ashes. Catherine Linstrum's co-written one episode of Primeval, that's her entire TV writing career. Sarah Phelps is somewhat busy working on The Crimson Fields and an adaptation next year, so she's not really available (and her experience in genre TV is limited).