Outside the Government: Sleeper


Rather substantial update to yesterday's post that's worth reading.

It’s January 23rd, 2008. Basshunter, accompanied by DJ Mental Theo’s Bazzheadz, tops the charts with “Now You’re Gone.” Adele, Rihanna, Britney Spears, Nickelback, and Kanye West also chart. In news, a plane crashes at Heathrow, injuring thirteen people and delaying two hundred flights. Barack Obama manages to win more delegates in the Nevada caucuses despite actually narrowly losing the numerical vote, another sign of the degree to which his campaign was unnervingly well-organized. On the Republican side, Duncan Hunter drops out, a news event leading most people to realize for the first time that hew as running. Fred Thompson also withdraws, which is about equally interesting. And Heath Ledger dies, which is on the whole rather grimmer.

On television, Torchwood’s second season plods on with Sleeper. Here we get the rare episode of Torchwood that depends largely on its parent show for relevance. Taken on its own, Sleeper is, well, a bit sleepy. Its premise works, broadly speaking, but theres no particular sparkle to it, and it largely appears to be “Gwen cares passionately about someone who’s been caught up in alien malarkey,” a plot structure recognizable from large swaths of the first season. And this time the alien malarkey seems… well… a bit silly, really. Alien sleeper agents ready to wake up and embark on a frighteningly baroque scheme to use our own weapons against us as a means of taking over the planet? Really? Last year we had a sex alien, which, while not actually any mores sensible, is at least, you know, a sex alien. This is just ridiculous.

Except the thing is, Cell 114’s plan is bog standard. Invade the Earth via a baroque plan involving military installations and evil alien pseudo-humans? It’s the plot of Spearhead From Space, Terror of the Autons, Terror of the Zygons, The Android Invasion, Aliens of London/World War Three and probably a few others that I’m leaving off the list. What we have here is a bog standard Doctor Who invasion, in other words, that never quite gets started. And in the time spent waiting for the big alien invasion to actually start - you know, the sort of plot that would usually involved the Doctor showing up - we instead get a human story about the people caught up in the wake of this alien invasion.

In this regard, we have the second consecutive story that has clearly thought through the point of being Torchwood. It’s a story designed to fit into the margins of Doctor Who and give them a human dimension. The basic mechanic of the series is well in place - Doctor Who is about exploring various narrative spaces, while Torchwood is about abutting them with human spaces. Not in the bland horror of Yeti-in-the-loo sense, but in a sense of ordinary lives deformed and deranged by the alien. 

In this regard it’s significant that the event that causes Beth’s life to turn upside down is an act of violence. It’s only when burglars break into her house and threaten her and her husband with violence that her life unravels into an alien hell. The way in which our domestic lives are thrown into upheaval and torment by the intrusions of the horrors of the world becomes entwined with the eccentric spaces of aliens. 

But there’s an annoying limit to how much can be gained by pulling on this thread. If the intrusion of the alien into Beth’s life is a metaphor for the post-traumatic space following the act of violence against her household then her secret identity becomes an act of victim blaming. The post-traumatic sense of one’s life and body being irreconcilably broken and wrong becomes literally true. The story’s resolution, whereby Beth is shown to be irreparably damaged and to need to be put down is, in this regard, frankly awful. 

And this is the crux of problem with Sleeper - it sets up a fascinating nexus of points to tackle, but gets lost amongst them. Beth never has enough character to be more than just the monster of the week, but she’s stuck in a story where all of the dramatic weight hinges on the assumption that she is. The episode seems to believe that in 2008 it’s sufficient to have your villain be a transformed ordinary person, missing the fact that this has been the standard paradigm since The X-Files, and that it actually takes something more than just having a cold open featuring an ordinary person having something bad happen to them in order to make a monster of the week’s human identity particularly memorable. 

In many ways this relates to a larger tightrope that Torchwood constantly has trouble with, which is that all of its genre conventions come from a place where the extraordinary is more understandable than the ordinary. And so Torchwood runs into the problem that when it wants to stress the importance of an ordinary person’s life it really has to work at it. This is why the decision not to kill Rhys in End of Days was so sensible - because he’s a well-developed instance of the ordinary world, and thus can give that end of the equation weight. But Sleeper just doesn’t have anything that accomplishes this. Beth remains a cipher defined mainly by her secretly being an alien.

So instead of an episode about ordinary spaces being caught up in the margins of a Doctor Who invasion we get an episode that revels in an extended joke about an infamously overacted line in The Five Doctors. The scene that should carry all the weight - Beth accidentally killing her husband - is strangely hollow. Neither of them feel like people. Beth’s spike arm triggering comes out of seemingly nowhere. It’s the right story beat, and the right shape for the narrative, but it’s ultimately lacking in any weight. It’s an empty exercise without purpose.

The real revelation is the decision to have Beth awaken her entire cell, so that we get a set of random other sleeper agents wandering around causing carnage. This helps in cementing the fact that this is not so much a real alien threat as another rubbish Doctor Who invasion, but its larger effect is largely negative. It makes Beth generic - one part of an alien army, the bulk of whom are wholly without personality. (Although I’ll admit, the woman who lets her pram roll into traffic so she can get on with invading the Earth is hilarious, though one suspects this is not entirely deliberate.) In a story in which Beth’s individual character is already being swallowed by her sci-fi conceit, this is the opposite of helpful. 

If Beth were a more realized character such that we could go “oh, OK, that’s why she’s able to cling to her humanity where the others can’t” that would be one thing. But she’s not. She’s only coincidentally different from the other aliens because she’s the supporting character of the week and they’re just monsters. The story’s supposed to hinge on the difference between Beth and the other aliens, and instead there isn’t a difference to be found besides the one imposed by the plot structure. It marks the point when a story that really could have been about more actively decides that it’s going to settle for being about less.

This suggests an unusual problem with Torchwood, which, in its first season, was often bewildering, but which usually avoided being boring. There’s a degree to which fascinating but ostentatiously flawed stories like Cyberwoman and Countrycide are preferable to something like this, which could be trivially reskinned into being an episode of Smallville or Heroes or The X-Files or Supernatural or any other basically interchangeable show. 

But even this seems too much to make about Sleeper. Sure, it completely fails to demonstrate any reason why it should be Torchwood, but this isn’t particularly notable. It’s mostly down to a script that doesn’t feel like it’s fleshed out anything, and to the fact that Nikki Amuka-Bird does little with the part of any note. The idea seems solid enough, but there’s nothing fleshing it out. This doesn’t indicate anything about the show at large any more than Sleeper reveals anything about our worlds or our lives at all. 

It is overstating the case to suggest an existential crisis for Torchwood on the basis of one duff episode. But if we may be permitted to flip forward, this isn’t one duff episode. Season Two of Torchwood is very much the problem season. Season One bristled with promise; it was all spiky edges and ambition. It fell markedly short of quality at times, but even when it failed it failed in a way that felt worth trying. Yes, it was over the top too often. There were several moments in which the production team should have been politely reminded that just because you could get away with something post-watershed didn’t mean that you automatically should do so. But in other ways the first season handled that better than it gets credit for. Paul Abbot, when making his (actually very good) series Hit & Miss, about a transgender assassin, made a point of having a shot in which the main characters genitals are visible and a scene where she kills someone in the first two minutes, just to get them out of the way and take all possible sting out of them. Torchwood accomplished something similar with Day One. It went as far as it was ever going to go, thus neatly terminating all ability to focus on how far the show would go so that it could get on with doing other things.

The problem is with the second season going out on BBC Two as its primary network. This required that the show be more respectable, buttoned down, and conservative. Sex monsters were right out. Instead… and here’s where the problem arises. We trail off without a replacement. All Torchwood has to define itself on its second run is the things it’s not doing from the first one. And so we get a show defined by the ambitions it doesn’t have; by the things it has no intention of doing. Everything that distinguished it from any other action-adventure show is stripped away, save for its willingness to engage in a particular sort of fanservice. That fanservice is cheeky and wonderful and positions Torchwood as being a bit more clever than the many other shows that act like it, but there’s a gulf between “a bit more clever” and actually having something to say. Sleeper comes nowhere close to the latter, and for no particular reason. The problem isn’t with the ideas - it’s with a show that’s too scared to try to do anything with them.

Sleeper is merely the worst offender in a season that has this problem an awful lot. Other stories this season flag, but they all have glimmers suggesting some larger amount of thought has gone into them. Sleeper doesn’t. It has no discernible ambitions beyond filling its timeslot so that the BBC has its desired amount of Doctor Who-related material to flog in 2008. Once it’s aired and been burnt to the appropriate discs on the DVD set, there’s nothing left for it to do. It wasn’t incompetent. Job done. Saying more than that seems oddly superfluous. 


Theonlyspiral 7 years, 4 months ago

"Day One accomplished something similar; Torchwood accomplished something similar with Day One."
May want to fix that bit near the end.

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Theonlyspiral 7 years, 4 months ago

My iPad ate most of my comment. I'll re-write when I get to work.

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Theonlyspiral 7 years, 4 months ago

This story does the thing that most of season 2 of Torchwood did: Sound really good.
"A renegade from Jack's past shows up to cause trouble", "Sleeper agents have missile controls and may know more about the hub"
"A man from 1918 needs to bridge two time periods"
"A memory changer infiltrates Torchwood!"

But there is never any payoff. It never lives up to it's potential. Either the normal people in the margins of a Pertwee-style invasion OR a straightforward Invasion story would have worked better than what we got. The reason I come down so hard on Torchwood these days is likely the fact that I spent the entirety of Series 2 being excited by the stinger, let down by the episode, and then excited again. It was brutal. And I was consuming it from across the pond via the internet.

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Lewis Christian 7 years, 4 months ago

Series 2 is the problem series? I see the problem series as Series 1, with Series 2 getting better, ans Series 3 hitting the nail right on the head.

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Amber Daniels 7 years, 4 months ago

I've rewatched all of Torchwood a couple of times since it originally aired between 2006 and 2011, but until you wrote this post, I completely forgot about this episode's existence. I'm currently wading through my memory in an attempt piece it back together, yet it seems reluctant to resurface. It's a bit like trying to recall an incredibly drunk night out, I know stuff happened and I know I was a witness to that said stuff, but I have no visual memory to fall back on. I can't even remember the burglary sequence which you referred to. I can just about recall the woman letting go of her pram, so that's a start I guess.

The more that I think about it, I struggle to remember quite a bit from the second series of Torchwood. The only ones I clearly seem to recall is Kiss Kiss Bang Bang (mainly down to Marsters playing tonsil tennis with Barrowman), Meat (giant whale alien in a disturbing amount of pain), Adam (I spent the entire episode trying to figure out whether the villain was played by James McAvoy; the answer being a definite no) and Exit Wounds (for the obvious reasons).

As you say, series one had a wobbly promise of potential which made it more memorable in its own quirky little way, yet here, that potential seems to have packed its bags and scampered off.

I guess the core issue behind this all boils down to the problem you've already flagged up. The BBC Two slot pushed the show down a more conservative path; removing some of the more outlandish characteristics which the previous series had a bash at (though I could have personally done without the Sex Alien, but there's certainly been worse things on the tube before). The previous year was flawed, but was more memorable as a result of its tendency give some more edgy concepts a chance to perform under the spotlight.

Having said that, I still enjoyed parts of series two, plus there were some reasonably decent moments contained among its thirteen episode run.

Plus at least we then finally get treated to Children of Earth a year later, which I thought was a wonderful way to turn things around.

Anyhow, I'm off to watch Sleeper again, seeing as my memory is still letting me down with that one.

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Daibhid C 7 years, 4 months ago

My recollection is that I quite ... well, I'm not sure about "liked" but found this intriguing.

Yes ordinary-people-as-monsters has been done since the X-Files. What I *don't* recall being done on the X-Files is ordinary-person-who-doesn't-want-to-be-a-monster-but-is-treated-as-one-by-our-ostensible-heroes. If the MOTW is sympathetic, Mulder and Scully are on their side once they realise what's going on. If not, well, we get Humans Are The Real Monsters. But what we get in Sleeper, as I recall, is a situation where the MOTW is shown as sympathetic to the audience, while Jack insists on treating her like a marauding Weevil, just because she's alien.

And X-Files wasn't made in what I suppose I have to call the post-9/11 world. The metaphor for Beth is surely The Middle Eastern Person Who's Probably A Terrorist. And the bit where she wakes up the rest of the aliens is when TMEPWPAT actually *does* get radicalised as a reaction to their treatment by the Western security forces.

So it's not so much that "Beth is shown to be irreparably damaged and to need to be put down" as that Torchwood forces Beth into a situation where they feel they have to kill her. Because Torchwood isn't actually a terribly nice organisation.

(I'm also not sure about the claim that you can't have sex aliens on respectable, buttoned-up BBC Two. IIRC, the first episode of the BBC Two alleged comedy Hyperdrive was about an alien race that communicated by putting their genitals in people's faces.)

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BerserkRL 7 years, 4 months ago

Okay, I give up; what's the overacted line from "Five Doctors"?

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Elizabeth Sandifer 7 years, 4 months ago

Not the mind probe!

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Matthew Blanchette 7 years, 4 months ago

I had a feeling it was that one. Poor Paul Jerricho; he gets one bad direction from Peter Moffatt, and suddenly he's the butt of jokes the world over...

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Spacewarp 7 years, 4 months ago

Everybody assumes that Series 2's move to BBC2 was the reason for perceived changes, but does anyone actually have evidence that this was the case? Isn't it possible that the series was commissioned, written, filmed and mostly finished before it was decided what channel to put it on?

I don't exactly know how these things work, but it could be that once the series was in the can, the Beeb could have said to RTD "Series 1's repeats did good on 2, let's stick it there to begin with..."

The reason for the change in the tone of the second series could simply be down to audience feedback, and RTD's decision to tighten some aspects up, and tone others down. Not saying that is the case, but do TV networks really decide what channel they're going to air something on and then commission it based on that?

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Bennett 7 years, 4 months ago

Series 3 hits a nail on the head, but it's definitely not aiming for the same nail. It's not even on the same building site.

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