Ah, so Moffat did have a script editor at first, and most likely just decided that he was beyond them when he became head writer. (looks her up) Oh! Helen Raynor wrote that Sontaran two-parter for the Tenth Doctor! I loved that story! And she script-edited some of my favorite New Who episodes! Yeees! This just in: Helen Raynor is awesome. It's too bad that she hasn't done anything for the series since 2008.

I finally actually watched that She Said, He Said video that you linked, and... ouch. It's just a vehicle for the characters to say "You're awesome! No, you're awesome! You're perfect! Yes, I am!" Where even are they? Some sort of time-suspension wax museum? There's the chess-playing Cyberman from Nightmare in Silver and one of the living snowmen in there, and both were destroyed in the first episode that they appeared in. I'd almost say that this is one of the locations within the physical manifestation of the Doctor's timeline, and those objects are just projections, which would at least go a step or two toward explaining why the one that isn't talking freezes up once the other starts talking about them, if this wasn't a prequel to Name of the Doctor and thus made to be watched before it. And even then, why would they just start monologuing like that? Would this be some sort of displaced zone which they could only escape by complimenting one another? EXPLAIN! EXPLAIN!

Now back to characters, and Clara in particular. I never understood what Clara was supposed to be doing in the story. At least Amy and Rory had consistent backgrounds, even though the stories never did naything with them. Clara is constantly in a state of limbo, character-wise, where you can tell that someone might have attempted to develop her into something at some point, but the whole affair fell through and left her flat. I understand that it was initially part of the mystery not to know where she came from, but a character can be mysterious and still rounded and entertaining. Clara is so one-note she quickly becomes grating and annoying, we're never given anything to ground her to reality, and the ultimate explanation of her mystery, that she is one of a few hundred thousand Claras that have been scattered through space-time through poorly-elaborated-upon contrivance to save the Doctor from an unexplained threat, is stupid on the surface and horrifying if examined.
What happens if the current Clara dies? Does the Doctor just... go find a new one? Is this why Clara's had three jobs with no connection to one another? Because they are three different Claras, and the Doctor finds them so interchangeable that he just goes and picks up a different one each time? Is this why we never see the Doctor and Trenzalore-Clara leave the physical manifestation of his timeline? Because we'd see him just leaving her there and going off to go pick up teacher-Clara for more "wacky" adventures? "Oh, well, looks like you need to be me to get out of here! I tried to save you, but I couldn't. I'm terribly sorry. Lucky I've got a few thousand more Claras where you came from!" Oh god, now I'm thinking of moments in the series that support that characterization. I... I need to stop thinking about this.

Consequences! That's a good thing to change the subject to! The Eleventh Doctor never has to deal with the consequences of his actions. Remember when he edits Kazran Sardick's past, deliberately altering his mind by inserting himself into Sardick's history and setting up himself as a figure to be trusted? That's absolutely monstrous. There were multiple other Doctors that deliberately avoided doing things like that. Granted, some of them avoided it due to paradox and not the moral implications, but that only means that the Eleventh Doctor risked portions of time falling in around him so that he could mind-edit this bitter old man. He does not love the Doctor, so he must be forcibly altered into someone who does, and not only is he never questioned on it, it's treated as a good thing? Hmm, what sort of common fictional entity do we know that acts like that?
One of the reasons why I liked the Ninth Doctor's run is that it was all about consequences. The Doctor screws up, multiple times, and has to deal with the majority of the problems he causes. One of said problems almost ends up with a crazy Dalek Emperor taking over the Earth and turning it into a temple for his delusional godhead! There's one that didn't get tied up that always bothered me, the bit at the end of The Long Game where he left Adam Mitchell in the past with knowledge of and technology from the future, but it looks like I'm not the only person who noticed that disparity, since he ended up with a fiftieth anniversary tie-in comic that I really need to tack down at some point since I even enjoyed reading its summary from his page on the Doctor Who wiki- and I'm getting off-track.

Basically, in almost any show, the protagonist does something bad to someone for some reason, intentional or not, but they then has to deal with it. Sometimes it works out and the protagonist is forgiven, sometimes it's too late and things get too complicated to fix, which might perhaps end in one of the initial wronged party going on a downward spiral and turning evil, sometimes someone important dies or is sucked into another dimension or is otherwise left incapable of creating closure for the issue, but problems are recognized and handled in some way. In Moffat's Doctor Who, the Doctor can do anything he wants, up to and including breaking the laws of time, and Moffat and his team are unwilling or unable to allow him to turn around and try to face the problems head-on, or even to have him just wave his sonic screwdriver at them and then loudly declare that they all went away. At least in the latter case, the show would be acknowledging that he wasn't one hundred percent the best, since he did have issues to deal with, even if they were resolved in an anticlimactic manner.
As it is, though, we're just supposed to watch this guy do things for vague reasons and support him even as he's being a massive jerk to countless people and constantly forgetting that he is a time traveler. If we I can divert into territory that Moffat only editorially madated and supervised instead of writing directly, I could barely get through Victory of the Daleks because I had to hold in shouting the obvious solution to the contrived problem to the screen at the top of my lungs in the impossible hope that it would cause the characters from an episode written several years ago to suddenly remember that, oh yeah, one of them has a time machine. What? Characters that can resolve problems without having to resort to false drama and deus ex machina? What are those?

Also, this may tie into the "Eleven is awful for no good reason sometimes", or I might have just missed something: In Day of the Moon, the Silents try to manipulate humans into creating the space program and landing on the moon, and when the Doctor finds out, he uses a hypnotic message to trigger every human watching the moon landing broadcast to murder any Silent that they see at first sight. What exactly were the Silents doing that was so evil that Eleven had to psychically convince millions to kill in cold blood? The Doctor has never done anything like that before or since. This was the first time he'd seen them, or at least the first time he'd known that he'd seen them, so there had to be something within that one episode that prompted him to order genocide, right? What was it?

Would you agree that he's done that a bit with Series 3 of Sherlock, with Moriarty's return? I hope it's just someone using Moriarty's image, because if he survived, what was the point of Sherlock faking his death and make John wait two years? What was the point of that scene if they were just faking their death at each other?

And something about the handling of Mary's back story didn't sit well with me. What should have been her story about trying to erase the evidence of a past she doesn't want to share with John became Sherlock's story of doing whatever it takes to protect John's happiness. Plus the fact that they don't even reveal it, and not in the cool hint-y way in a "it's not important as long as she'swith her man". And her becoming pregnant definitely bothers me, because I wanted her and John and Sherlock to be this awesome crime-solving trio and having a baby requires at least one person to stay behind, and I bet they'll want to preserve the iconic Holmes/Watson.

And given everything you're saying about Moffat, I really don't trust him to fix these issues.

... the idea of companions having lives outside the TARDIS is very Revived Series. In Old Who, I can't think of, um, any examples. I'm sure there are some, but I don't know them.

And both Amy and Clara still do vastly better on that score than the Old companions.

(Also, I don't think Amy's a model, though I'm not sure - since the perfume she advertised was named after a word of the Doctor's, I figured she had a hand in designing it)

Like I say, more later - once I've figured out what to say and/or think. ;)

hS

The Moffat era had precious little in terms of queer representation. You had Vastra and Jenny as, like, basically the only queer couple that managed to survive more than one episode. Just like occasionally referring to Rory as Mr Pond isn't exactly feminist, having a transgendered horse, a set of "gay fat Anglican marines" referring to themselves as nothing but that, and Clara Oswald write off her bisexuality as a phase isn't exactly queer-friendly. Probably the best thing aside from Jenny and Vastra in the Moffat-era for queer representation was the Corsair, and that was in the Neil Gaiman episode. And the Corsair is dead.

RTD-era had Jack Harkness who, while an initial creation of Moffat's, has been expanded since then into the omnisexual we know today. RTD-era had Cassini ladies who actually lived through to the end of an episode. RTD-era had Jake and Ricky from the parallel universe who were in a relationship (okay, not explicit in-episode canon, but RTD had suggested it and it was in a deleted scene. Still better representation than fat gay Anglican marines imo). RTD-era has Alonso Frame, who got picked up by Jack at the end.

I can go on about Moffat being a giant sexist who erases asexuality and queerbaits John and Sherlock in Beeblock, who once said that the Queen should be played by a man, who once implied that he didn't want Amy Pond's character to be "wee and dumpy". I can go on about how Eleven has an alarming tendency to kiss people without their consent (most notably, a married lesbian woman). But I really shouldn't because I'll just be here all day.