wee doors banging

In previous instalments of this blog, I’ve questioned the apparent lack of science fiction television programmes aimed at adults made in the UK, singling out the evergreen Doctor Who as an example of such a show that is aimed squarely at children and teenagers. Having said that though, the fifth series of the new Who has just finished its run and I must admit that this particular adult enjoyed it very much.

Matt Smith waves his magic wand around

Let’s be straight; Doctor Who is still a children’s show. It’s broadcast in prime “family” viewing time on early Saturday evenings and the “science” parts amount to little more than Matt Smith waving his magic wand around and rapid-fire-blabbering some vaguely science-y sounding explanations of what’s going on. Certain celebrity figures would seem to agree with my assessment too, including the show in a criticism of the general “infantilism” of British television.

The target demographic is pretty clear, and it’s not me. I think. I’m not so sure any more.

So what is it with this season that I’ve been drawn back into Whovianism, when the Tenant years (seasons 2-4) kind of left me flat? Or do I really mean the Russell T. Davies years (seasons 1-4)?

Weeping Angel, Scary Monster. A Steven Moffat creation featured in two of season five's best episodes.

Bags of credit must be given to Matt Smith, who brings a brilliant, manic, foppish, Britishness to the role of The Doctor, but in season five the key for me has been in the writing, under the pen and supervision of new “showrunner” Steven Moffat. It’s layered, imaginative, emotional, and complex, sometimes mysterious, dark and tragic, and there’s an arc that connects back and forward in time across each of the 13 episodes. You’re made to empathise and connect with the characters and the situations they find themselves in. The Doctor himself is flawed and vulnerable, doesn’t always have the answers (at least at first!) and his solutions aren’t always perfect.

It’s adult, in other words. Or rather, it now works on different levels to be accessible for adults and younger viewers alike. The kids have the monsters and the runnings around; the adults have the deeper plotlines (and the dads in particular have Amy Pond). This is what’s changed for season five. I can think of another series that has this style of writing, and it’s done all right for itself, so it’s a change for the better in my book.

Moffat teases there’s more of the same for the 2010 Christmas Special and 2011′s season six.

Geronimo, I say.