capaldi

In 2063 they should do a special in which they cast different actors as William Hartnell, Richard Hurndall, and David Bradley, then have them all appear together in an adventure called The Three First Doctors.

It’s December 25th, 2017. Ed Sheeran is at number one with “Perfect.” The Pogues, Mariah Carey, Wham, and Eminem also chart, one of them with Ed Sheeran appearing on the track. We’ll call this an exercise for the reader. In news since Series Ten wrapped up, neo-Nazis held a rally in Charlottesville, Virginia that resulted in the death of a counterprotester, Heather Heyer, when a Nazi deliberately drove his car into a crowd. Following the rally, President Trump praised the “very fine people” on both sides of the  “are black people human” issue. There’s a lot of other Trump bullshit, but honestly summarizing six months of it in a paragraph is a challenge, so let’s just leave that at “also more fascism” and call it a day. Martin Shkreli is found guilty of a variety of crimes including disrespecting the Wu-Tang Clan. Vince Cable becomes leader of the Liberal Democrats. Theresa May’s government promises that Parliament will get a vote on any Brexit deal. Fifty-eight people are killed at a concert in Las Vegas when a gunman opens fire from an overlooking hotel window. Disney announces its impending acquisition of 21st Century Fox, delighting Marvel fans who don’t give a shit about growing corporate control of the media landscape, which is to say Marvel fans. Also, I start transitioning, which isn’t exactly news, but given the autobiographical strand of this project seems worth mentioning. 

On television, meanwhile, the Moffat era ends how a lot of people would expect: an undisciplined and messy story long on misplaced confidence and casual sexism. That the people who expected this were mostly wrong about the entire rest of the era is ironic, but does not change the underlying matter here. It’s not that Twice Upon a Time is bad; merely that it isn’t great. It’s not a triumphant final statement of any of the eras that it closes, instead coming off as sort of line one of those decent but clearly extraneous bonus tracks that get put at the end of album rereleases and end up vaguely diminishing the album’s close. It would have been a better ending for the Capaldi era had it closed with a slightly longer World Enough and Time/The Doctor Falls that found time for a regeneration speech. Not, again, because this is a bad story, but simply because that was an emphatic statement and this is a pleasant mess.

This is not a surprising, given that it’s the second extension of the Moffat/Capaldi era that we’ve had. After being persuaded to stay one more season after his “could be my last” Husbands of River Song, Moffat discovered that Chibnall did not wish to kick off his tenure with a Christmas episode, and so agreed to figure out his third way of departing the series in two years.…

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Moffat sent Capaldi off with an acting challenge to rival Heaven Sent, namely selling the line “A Mondasian Cyberman!”

It’s June 24th, 2017. Artists for Grenfell, a charity supergroup including Stormzy, Robbie Williams, Brian May, and Pete Townshend, are at number one with “Bridge Over Troubled Water,” which lasts for a week before “Despacito” makes its inevitable return. Little Mix, Rita Ora, and DJ Khaled also chart. In news, a terrorist attack occurs in Finsbury Park as a man drives a van into a crowd near a mosque while shouting “Kill all Muslims,” while ISIL destroys the Great Mosque of Al-Nuri in Mosul. And Theresa May finally reaches an agreement with the DUP to support her government for the low, low price of one billion pounds. 

While on television, the end, or at least, the beginning of it, as Moffat ultimately found himself persuaded to do one more Christmas special, as Chibnall wasn’t going to be ready for one yet. Indeed, this final duology serves to interestingly highlight the nature of a regeneration story by taking the two crucial elements of one and splitting them into different stories. Twice Upon a Timegets the marquee moment in which Peter Capaldi is bathed in glowing light and becomes Jodie Whittaker, which is indeed a crucial scene. But World Enough and Time/The Doctor Falls is the one that gets the larger structural substance: an adventure that gets out of hand in which the Doctor wins at a terrible price. 

It is this part, I would suggest, that is the more important half of the experience. Colin Baker, Sylvester McCoy, and John Hurt all had regeneration scenes, but they lacked stories of their phyrric victories leading up to those scenes, either going down for minimal reason at the start of their successor’s debut or departing in a scene tacked onto the end of their only story in order to avoid loose ends. And in each case there is something missing—far more of a something than the vaguely cut off and incomplete resolution of The War Games. 

No, there’s something crucial to the story of a Doctor’s fall—something ultimately far more important than getting a monologue about when the Doctor was him or a swirling montage of past companions. The story in which the Doctor loses allows an era to make at least some comment on its vision’s limitations. The fact that the Doctor doesn’t simply always triumph makes the extra-diegetic concerns of actor replacement into diegetic ones, giving each era the opportunity to tell a story that is in part about the need to change and move on. Done correctly, as with The War Games or The Caves of Androzani, the regeneration story becomes a piercing study of an era’s shortcomings. Done wrong, as with Planet of the Spiders or The Time of the Doctor, it’s still an utterly fascinating exercise in drawing a line under what has come before. (That’s not me knocking The Time of the Doctor in general, to be clear, nor even me knocking Planet of the Spiders; they’re just not coherent responses to their eras in the way that The War Games or The Caves of Androzani are.)…

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Finally, he lives up to the name Doctor Disco.

It’s June 17^th, 2017. Despacito continues its endless dominion over the charts, while Charlie Puth, Ariana Grande, Liam Payne, and David Guetta also chart, the latter featuring Justin Bieber, which means that he has three songs in the top ten without being the primary artist on any of them. Ed Sheeran has zero. In news, Otto Warmbier is returned home after over a year in a North Korean prison, with North Korea releasing him largely so he wouldn’t actually die in their custody. Tim Farron resigns as leader of the Liberal Democrats. Republican Congressman Steve Scalise is wounded by gunfire during practice for a Congressional baseball game. And, most significantly, the Grenfell Tower block erupts in flames when a malfunctioning refrigerator started an electrical fire that ignited the exterior aluminum cladding selected for its low cost. Seventy-two people are killed. Numerous buildings across the UK are still using similar cladding, and in many of the buildings that have had their cladding replaced the costs have been passed on to the residents, who often cannot afford them.

Meanwhile, on television, Doctor Who offers one of its most remarkable episodes in The Eaters of Light. The story provides us an extraordinary and singular opportunity to compare a single writer’s work on the classic series and the contemporary one. And yet most of what it turns out to do is frustrate the idea that this is an easy comparison to make. Off the bat, problems arise. Rona Munro, with only her second story, immediately takes the record for longest gap between first and last episodes (previously Terry Nation at fifteen years, nine months) with a twenty-seven year and seven month gap. She also takes the record for longest gap between two episodes (previously Gerry Davis, at seven years, seven months) with basically the same gap. And so what we have here is the difference between a thirty year old playwright who’d gotten into a BBC training course for writers and gotten poached by Andrew Cartmel, who routinely found new and interesting writers there, and a fifty-seven year old highly acclaimed veteran whose plays have gotten international stagings and numerous awards, and who has written screenplays for people like Ken Loach. This difference is, I would argue, on the whole larger than the difference between Terry Nation and Gerry Davis.

And that’s before you get to structural differences. Even if we downplay the thematic shifts around things like the role of the companion—easier to do with Munro than almost any other classic series writer given the particular story she wrote—Doctor Who in 2017 is a very different thing than Doctor Who in 1989, a gap that is after all literally longer than the gap between An Unearthly Child and Survival. With a five-minute and surely Moffat-penned Missy scene tacked onto the end, this is a thirty-eight minute episode, or just over half the length of Survival. The fact that it doesn’t have to take breaks for cliffhangers mitigates that a little bit, but the fact is still that this is a much smaller piece of televisual real estate than Munro had previously written Doctor Who upon, a fact that fundamentally changes what you can do with it.…

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With Alpha Centauri only appearing on a screen, the “looking like a giant penis” needs of this episode had to be filled elsewhere.

It’s June 10^th, 2017. Despacito? Despacito. Ariana Grande makes it up to number two, while Niall Horan, French Montana, and Ed Sheeran also chart, with the latter having his last week in the top ten following the great Sheeraning. In news, Montenegro joins NATO, a Saudi Arabian-led blockade of Qatar begins, and James Comey testifies before the Senate Intelligence Committee. But the big news is the general election, which ends with a hung parliament after unexpectedly large gains for Jeremy Corbyn’s Labour Party, resulting in Theresa May forming a confidence and supply agreement with the Northern Irish Democratic Unionist Party that gives her an incredibly narrow majority that would require near unanimous support from within her own party for any major legislation such as, say, a Brexit agreement. 

Speaking of Brexit, on television we have Empress of Mars. This is a story that, by all rights, should be easy to dislike. It’s Gatiss doing pure and unadulterated fanwank, without any of the wider concerns that allowed things like The Stolen Earth/Journey’s End or Hell Bent to justify their excesses. Its very existence is not a sign of a healthy program. On a very basic level, functional TV programs do not resolve storylines in ways that depend on the audience recognizing the forty-three year old supporting character who’s making a cameo for the final scenes to make any sense. This absolutely and unequivocally should be a hot, steaming mess. So why is it so utterly delightful?

Part of it is that Empress of Mars provides the natural culmination for the project we’ve been identifying as “late Gatiss.” Much of Gatiss’s late style has emerged from what seems like a greater sense of comfort with his own approach. His early work often seemed to struggle at fitting what he does to the strictures of the modern series, particularly the themes and approaches established by Russell T Davies, which are ultimately where The Idiot’s Lantern, Victory of the Daleks, and Night Terrors all trip up. But starting with his Series Seven contributions, Gatiss seems to have resolved to stop trying to tailor what he does to larger expectations of what modern Doctor Who is like and to instead just write Gatiss episodes. The results have been consistently charming and, with Robot of Sherwood and Sleep No More, have done non-trivial amounts to expand the concept of what a Gatiss episode can be. But with Empress of Mars, this hard-earned “let Gatiss be Gatiss” ethos is taken to its endpoint and we finally get to appreciate how good an idea it was in the first place.

It’s notable that Gatiss required some work to get to that point with the episode. His first instinct, correctly squashed, was to try to pen a sequel to Sleep No More given that story’s ambiguity-laden resolution. It is unsurprising that this did not quite work, as the downer ending was central to that story and revisiting it could only diminish the idea.…

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This is not actually a screenshot of the episode, but a candid photograph of Peter Capaldi shortly after recieving the script.

It’s June 3^rd, 2017. “Despacito” isn’t going anywhere, but Captain Ska and Jonas Blue are newly in the top ten, while Ed Sheeran, DJ Khaled, and Clean Bandit continue their runs. In news, the US government announces its intention to withdraw from the Paris Climate Agreement, and Arsenal eats Chelsea to win the FA Cup. While on the day this episode airs, Reality Winner is arrested for leaking information about Russian interference in the 2016 Presidential election to journalists, and a few hours after it airs, a terrorist attack on London Bridge kills eight people.

On television, meanwhile, we have The Lie of the Land. This is a story that fits smoothly into an important tradition of Doctor Who stories, along with things like The Celestial Toymaker, The Dominators, The Monster of Peladon, Warriors of the Deep, Planet of the Dead, or Nightmare in Silver. Which is to say, fundamentally lazy fuckups at the tail end of otherwise good eras. There are a number of ways to get to this sort of story—Nightmare in Silver, in particular, is bad in ways that are difficult to relate to any generally applicable principle beyond, perhaps, the all too often realized “Cybermen don’t work as a sole villain.” But all of them are united by a sense of creative exhaustion—a feeling that the people in charge are just too tired to put in the effort they might ordinarily to make a bad script into a vaguely acceptable one.

It is interesting, then, how often what goes wrong for these stories includes the political. The Celestial Toymaker, The Dominators, and The Monster of Peladon are to be sure bad for a lot of reasons, but their politics are both undeniably among them and are all weirdly egregious in their awfulness. The other three are less ostentatiously bad in their politics, although Warriors of the Deep certainly has its problems, and I could just have easily decided Journey to the Center of the TARDIS, with its deeply questionable decision to make its team of bumbling thieves all black, was the Matt Smith example of this particular phenomenon. But The Lie of the Land is a despondent return to the early days of Doctor Who, in which the show does not just throw out any poory thought out piece of tedious garbage but a offers a politically noxious poorly thought out piece of tedious garbage. 

The production timeline makes it clear that Whithouse was writing this in response to the rising threat of fascism that Trump represented, doubly so given that it had the Doctor namecheck fascism in his otherwise largely incoherent monologue pretending he really had sided with the monks. But, to make an obvious point, there’s nothing especially fascist about the monks. They’re not a populist and far-right authoritarian program. The mass movement that is in point of fact a central aspect of fascism is utterly absent.…

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More likely than not, aliens invented airplanes.

It’s May 27th, 2017. Luis Fonsi, Daddy Yankee, and Justin Bieber remain at number one with “Despacito,” while Liam Payne, Charlie Puth, Harry Styles, and DJ Khaled also chart. Narrowly missing the top ten is Ariana Grande’s “One Last Time,” which re-enters the charts more than two years after its last appearance. This provides us a grim transition to the news, where a terrorist attack at the Manchester Arena kills twenty-two people during one of her concerts. Ringling Bros. and Barnum & Bailey stage their final circus show, while on the day of this story six out of seven leaders at the G7 summit reaffirm their commitment to the Paris climate accord. No points for guessing who the odd man out is.

Meanwhile, on television, we have The Pyramid at the End of the World. The Pyramid at the End of the Worldmay or may not have the messiest gestation of any Moffat era story. Certainly it has the messiest one to play out in public. Announcement of Harness’s involvement was left extremely late, and when it came he was laden with the season’s only cowriting credit. The story of this finally emerged in Doctor Who Magazinein Ben Cook’s preview of the episode, in which Moffat made an unprecedented public apology to Harness for how the story was handled. Describing his drafts as dazzling, Moffat notes that he “was imposing too many things on Peter—put this in, put that in,” and explains that the final draft of The Pyramid at the End of the Worldcame due at the same time that Moffat’s mother fell ill, and that Moffat, lacking the time to work closely with Harness to polish the script, literally wrote the final draft by his mother’s deathbed. As he puts it, “I don’t feel great about that—Peter deserved better from me, frankly.” Clearly this is an immensely sad story, and a reaction along the lines of blame or second-guessing the decisions that got made is beyond unhelpful. Nevertheless, the archeology project of excavating the stories that The Pyramid at the End of the Worldcould have become is interesting and fruitful in its own right. And since I happen to have all of the draft scripts handy…

The Pyramid at the End of the Worldbegan life as a script entitled We Dare Not Go a-Hunting, was submitted on April 28, 2016 (Drake was at number one with “One Dance”). This was to be the first part of a two-parter, the second half of which would be called For Fear of Little Men. Harness never wrote a full draft of part two—there’s about twelve pages of loose scenes (compared to 49 pages of the fully drafted We Dare Not Go a-Hunting). Behind the scenes, what went wrong here was simple: Harness had a vacation scheduled that conflicted with the required production schedule, and so his contribution was pared down to a single episode, with Toby Whithouse assigned to write the concluding half of the story. …

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Don’t worry, Doctor, I’m sure the Chibnall era will be fine

It’s May 20^th, 2017. Luis Fonsi, Daddy Yankee, and Justin Bieber remain at number one with “Despacito.” J Hus, Ed Sheeran, Shawn Mendes, Clean Bandit, and French Montana also chart, the latter presumably introducing enough consumer confusion to explain Miley Cyrus being stuck at #11. In news, Chelsea Manning is released from prison. It emerges just how bad Trump’s firing of James Comey was, resulting in the appointment of former FBI director Robert Mueller as a special counsel to investigate Russia’s interference in the election. Trump makes his first foreign visit as President, to Saudi Arabia, leading to that low key amazing supervillain photo of Trump, the king of Saudi Arabia, and Egyptian President Abdel Fattah el-Sisi all touching that glowing white globe.

On television, meanwhile, Extremis. Let’s set aside, for a moment, the monks arc as a whole; there’s time enough to talk about what could have been, what was, and how that happened. Contrary to the greatest moment of Jack’s podcasting career, Extremis is too interesting for that. That said, the monk arc hangs over it in that there is no way to talk about Extremis without talking about failure. In many regards, Moffat set this story up for failure from the moment of its promotion, describing it as a weird experimental piece in the vein of Listen and Heaven Sent, which is to say holding it up to a standard that one doesn’t need the rest of the fingers on your hand to count off the other stories to meet. Extremis is done no favors by being the successor story to these when it is, in reality, a slightly hasty hodgepodge that’s trying to do the Missy reveal and set up the monks arc without necessarily having a clear idea why these two things to together.

The result is decidedly one of Moffat’s failures. But while that list contains cringeworthy banalities like The Doctor, The Widow, and the Wardrobe, it also contains things like The Beast Below that, while they might not quite come together as episodes of television, are still fascinating and basically delightful. Extremis falls into the later camp: an episode that does not belong anywhere near anyone’s lists of Moffat’s greatest triumphs, but that is nevertheless profoundly satisfying to delve into.

The thing that makes Extremis fascinating and compelling is that for all its hot mess tendencies, it’s one of those Doctor Who stories that are remarkably plugged into the zeitgeist. Simulationism is the sort of fun science idea you write about in 2017 the same way you did black holes in 1973. Add reincarnation on computers, escaping AIs, and ideas that drive you mad and you have one of the most shockingly on the nose Doctor Who episodes ever, at least from the perspective of the bitch who wrote Neoreaction a Basilisk.

To some extent, despite literally writing the book on it, I’m in no position to explain why these ideas go together.…

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I heard they had a space program; when they sing you can’t hear there’s no air

It’s May 13^th, 2017. Luis Fonsi is at number one with the Despacito remix. DJ Khaled, Ed Sheeran, French Montana, and Shawn Mendes also chart. In news, the WannaCry ransomware attack goes off, affecting hundreds of thousands of computers in a hundred and fifty countries, with major effects on the NHS. And Donald Trump fires FBI director James Comey on the pretext of an objection to his handling of the investigation of Hillary Clinton’s e-mails, but in reality, as Trump admits the next day in a meeting with Russian officials in which he also shares classified intelligence obtained from Israel, in an attempt to derail investigations into his campaign’s involvement in Russian attempts to influence his election.

On television, meanwhile, Oxygen. It is traditional, especially towards the end of an era, for me to take a good story that I enjoy and write an entry that is generally quite down on it. Even when writing the review of Oxygen, it was obvious that this would be the Capaldi story I did it to. The point of that exercise, after all, is not to indulge in the spurious pleasure of complaining or of contrarianism. Rather, it’s something baked into this project’s approach to Doctor Who, which holds that the show has a mandate to change and do better that applies equally to good eras and bad. If I don’t show the inadequacies of its triumphs, I’m not doing my job. And Oxygen was perfect for this: the most overtly anti-capitalist story in Doctor Who, written by one of the great writers of the era. I could either worship at its feet or be unsatisfied. The latter is more interesting by far.

What surprised me when actually rewatching it, then, was how much the episode made my job easy by failing to quite engage me in the first place. Upon initial airing, this was a huge sigh of relief after a desperately uneven first third to the season. Revisited two years later, its grim and gunly traditionalism stands out as an aggressive conservatism. It gets away with this for the simple reason that Jamie Mathieson is very good, and is capable of pulling off the minimum requirement of such an aggressively traditionalist-pandering story, which is to actually do everything basically perfectly. But the fact that only a writer like Mathieson would make this exercise worthwhile is not the same as the exercise actually being a good idea. More than anything else this season and possibly anything else in the Moffat era, this is a cynical box-checking exercise informed by GallifreyBase notions of what fans want. This is rearguard action, designed to placate a particular sort of hater. 

It is in light of this that we need to look at this story’s politics. The first thing to note is that the aesthetic conservatism helps the story get away with the anticapitalism. To make a very obvious point, Series 11 not only has nothing that’s even close to this story’s level of overt leftism, it contains Kerblam!…

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