I wonder if RTD gets overindulged by commissioners due to his success? Something like Years and Years was a bit too bleak for its own good whereas I think if he has to stick to parameters like with Doctor Who and A Very English Scandal, it produces much better work.
I don't think so - even when he was a "name" writer after Queer as Folk he still struggled to get projects away, The Second Coming was rejected by the Beeb and Channel Four and Mine All Mine was massively edited to the point the final episode barely made any sense. I think he also has the wit to know that he's got to keep coming up with the goods and he can't just be commissioned on reputation alone. Every time I've seen him interviewed he's seemed a very nice, generous man, I can't imagine him at all ranting and raving and demanding his work gets produced exactly as he demands it.
It's true he's a "name" writer but that will only get you so far. The best writers, like RTD, are the ones that are enthusiastic about TV and know how the business works. I'm reminded of Jed Mercurio, he did the series Critical for Sky which got good reviews but bad ratings and got axed. And he said he couldn't complain about that, he said they were proud of it, and Sky did absolutely everything he would have wanted in terms of support and promotion, he couldn't have asked for anything more, so he had to conclude that the audience just didn't want to watch it in large numbers, so that was that. I'm sure RTD has the same approach.
Years and Years didn't rate very well but I thought it was probably the best drama on telly last year. I actually found it much less bleak than his Doctor Who episode Turn Left, to be honest.