Eruditorum Press

Less concerned with who’s first up against the wall than with how to decorate it

Elizabeth Sandifer

About Elizabeth Sandifer

http://www.eruditorumpress.com

Elizabeth Sandifer created Eruditorum Press. She’s not really sure why she did that, and she apologizes for the inconvenience. She currently writes Last War in Albion, a history of the magical war between Alan Moore and Grant Morrison. She used to write TARDIS Eruditorum, a history of Britain told through the lens of a ropey sci-fi series. She also wrote Neoreaction a Basilisk, writes comics these days, and has ADHD so will probably just randomly write some other shit sooner or later. Support Elizabeth on Patreon.

Posts by Elizabeth Sandifer:

Welcome to Night Vale – “The Librarian” Review

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Abigail Brady would like to talk to you about Welcome to Night Vale.

Have you listened to Welcome to Night Vale?  It’s a podcast.  That doesn’t explain it.  Podcasts are usually chat shows – Night Vale is a dramatic presentation, in the form of a talk radio show, presented by a chap we eventually find out is called Cecil Palmer (played by Cecil Baldwin).  It is set in a small desert town called Night Vale, a place where every conspiracy theory is openly acknowledged to be true.  I tried to condense it to a two-word pitch the other day, and the best I could come up with with was “Innsmouth FM”.  A four-word pitch would be “Innsmouth FM.  With jokes.”  Mind, they distance themselves from Lovecraft, pointing at plenty of other contemporaneous weird fiction authors, who are less massive racists, as influences.  As a writer, what I admire most about it is its ability to change tones so rapidly and yet so completely, between the comedy and the horror, without either undermining the other.  It has a highly enthusiastic and growing fanbase, gained through word-of-mouth rather than any marketing-led push.   A lot of it is that it it’s an ideal fit for tumblr’s combination of humour and politics.  But it still seems pretty amazing for it to go from nothing to a small media franchise just through personal recommendations.  Even more amazing for this to happen in a format – the audio drama – that is new to most of the listeners.  It really is that good.


I asked several people who attended the October London shows how exactly they go into Night Vale, and nobody could really remember.   I mean, I can’t even really remember how I got into it.  My only hard date is that I nominated episodes for the 2014 Hugo Awards, so that’s certainly by the end of January 2014.  Night Vale fandom this time wasn’t organised enough to get an episode on the ballot. “The Sandstorm” (a two-parter with a season-finale feel that I didn’t think to put down) picked up 30 nominations, only eight fewer than “The Name of the Doctor”.  Maybe next year the second anniversary episode, “Old Oak Doors”, will make it through.  Guys, let’s remember that, yeah?


“Old Oak Doors” was exceptional, and not just in its the way it used its status as a season finale to kick you in as more teeth than Buffy’s “Becoming” did.  It was a two-parter, at the end of the second year of the podcast, it was recorded live in New York in June 2014.  And I have to confess, I found that… it didn’t entirely work recorded?  Particularly the bits where it is obvious Cecil or someone is doing something funny on stage, but we don’t get the joke because we can’t see him but we have to listen to the crowd laugh anyway.  Night Vale live is a different thing to the podcast.  Podcasts are typically a solitary listening experience.  How you engage with the material is entirely up to you.
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UNIT, a History

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A commissioned essay for Assad Khaishgi.
Since Doctor Who first hit upon the idea of doing stories set in the present day, a fundamental aspect of its mythology has been the question of how civil authorities might respond to the bizarre events that take place in the Doctor’s wake. The most enduring answer to this question is UNIT, the Unified Intelligence Taskforce, formerly the United Nations Intelligence Taskforce – a military organization specifically focused on unexplained events, particularly aliens. This, in turn, is most iconically connected to the Jon Pertwee era of Doctor Who, in which the Doctor was at one point a full-time employee of UNIT living on Earth, and throughout his tenure treated UNIT headquarters as a sort of home base on Earth to which he would regularly return. But while this is the most iconic iteration of UNIT and thus of officially sanctioned responses to alien threats, it is not the only version of either, and must be taken in a larger context.
At first, the governmental response to crises was imagined to be ad hoc. Part of this can be explained by the fact that the first two present day crises – The War Machines and The Faceless Ones – took place on the same day. The government simply responds to them to the extent that they find out about them, and they are treated as, in effect, freak occurrences. Where this begins to shift is The Web of Fear, which also introduces the character with whom UNIT is most associated: the Brigadier. Well, sort of. As we said back at the time, The Web of Fear is clearly not trying to introduce a major new character, nor for that matter an official and consistent answer to how the government will handle alien attacks. Instead, it assembles a military crew straight out of a bunch of standard war movies, and then drops a character named Colonel Lethbridge-Stewart in as a commander midway through. Lethbridge-Stewart is notable as a relatively realistic, sensible military commander – quite unlike the cliches he’s generally surrounded by. He’s an effective officer put in impossible circumstances, and he acquits himself well considering. 
On his second appearance, however, in the next year’s The Invasion, Lethbridge-Stewart has seen a promotion to Brigadier, and is now in charge of UNIT. This constituted a major shift in his character. Where before he was a reasonably straightforward military character who got dumped into a strange situation, now he was the person designed to lead a human response to the unknown. This still required being imperfect, not least because the entire point is to have the Doctor be the person who gets things right, but he’s nevertheless a character who is designed for the purpose of doing extraordinary things. This is, in and of itself, a major shift. The first three big “a threat to contemporary Earth” stories are all based around the idea that this is out of the ordinary. But from The Invasion on, threats to contemporary Earth are sufficiently common that there are standard responses to them.
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In the Forest of the Night Review

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Thanks as ever to my 168 backers on Patreon.

Let’s play the Kill the Moon game again and put aside the question of public opinion, not look at comments, and just go straight out. Not because I’m about to go on another rave about how this is a transcendent piece of Doctor Who, although it basically is. You can basically fairly accuse it of being Kill the Moon as if it were the Olympic Opening Ceremony, and that’s a fair criticism, so, spoilers, I’m going to put it in second. Well, though you can fairly accuse Kill the Moon of being a pro-life parable. So I guess in the end it goes down to the aesthetics of the thing, and personal preference. I think the ending of Kill the Moon is paced a bit better. So still second, but damn, that’s close.

But the real reason I’m putting public opinion aside is that this is, as many thought possible, the Blake episode. And I should set that reading up quickly, because it’s tremendously important to the episode and how I’m going to read it. If you’re a Blake geek, this is a hell of a thing. So. The Doctor suggests that the forest comes from the manipulation of time, and specifically mentions the date 1795. That is the year Blake began printing the combined volume Songs of Innocence and of Experience, from which his famed poem “The Tyger” emerges. This is the poem the episode’s title is taken from, and the tacit reason that the Doctor, Clara, and Maebh are menaced by a tiger. 
This connection is reinforced by Maebh’s description of seeing and hearing “ideas” flying around her, a description that consciously evokes Blake’s biography. Blake, and there’s not really another way to put this, had visions. These visions directly inspired and shaped his work, which was often an attempt to express the revelations he experienced. His famed miniature The Ghost of a Flea is, for instance, an illustration of a literal ghost he claimed to see. There is very little reason to think Blake was a charlatan in this regard. Certainly if he was, his act was terribly ineffectual. He lived in poverty his whole life, stubbornly clinging to his visionary art despite clearly being talented enough to fashion a career if only he were more disciplined. If he was a charlatan, the adaptability needed to craft so convincing an act failed him in every other aspect of his life. No, any reckoning of William Blake as a great artist and writer must accept up front – his art was the product of visions. Numerous hypotheses exist as to the nature of these visions, but they genuinely motivated his work. 
So when Maebh Arden stands within a forest from 1795, and says she sees ideas, she is in explicit communion with whatever strange source was tapped to produce Jerusalem the Emanation of the Giant Albion and America a Prophecy. She communes with the hand that dared seize the fire.
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Hai! (The Power of Three)

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It’s basically what watching this feels like.
A reminder that I’m doing a launch party for the latest TARDIS Eruditorum book at the Way Station in Brooklyn tomorrow at 3:30 PM. It’s at 683 Washington Ave. I hope to see you there.

It’s September 22nd, 2012. Script is at number one, with Ne-Yo, Pink, Flo Rida, and Fun also charting. In news, Dale Cregan kills two police officers and is arrested, and the NHL begins a player lockout. While on television, it’s Chris Chibnall’s second effort for Season Seven, The Power of Three.

The Power of Three has its faults, most of them seemingly fairly broad, and few of them actually the objections usually raised. Yes, the villain is a bit rubbish, but that’s largely the point. This isn’t actually a story about alien invasion, it’s a story about the Ponds. It’s the first time we really start to see the narrative acceleration of Season Seven used with some purpose and deliberateness – the resolution of the plot is sped through because it’s not actually the part of the story that matters. The beats are all there, they’re just not given room to breathe. Really, the only two solid criticisms are that “the year of the slow invasion, when the Doctor came to stay” is rather badly undermined by him going away for the bulk of the year, and the closing monologue, with its painfully ham-fisted integration of the title, is absolutely wretched.
But on the whole, we have a story where the oddness of the previous three finally starts to be justified. I mean, in its own way it was in Asylum of the Daleks, which was at least a generative and productive hot mess. This is a simpler thing, though – a story that uses the sped up narrative to fit unusual things in the margins of a Doctor Who story. It’s not, obviously, the first time we’ve played in the margins of Doctor Who stories – that’s what Love and Monsters and Blink were for. But it’s the first time we’ve done it without largely removing the Doctor Who story from focus. Instead of looking at a Doctor Who adventure an odd angle, we’ve got a Doctor Who adventure playing out at an odd speed, so that we get to put the emphasis on different parts. However stuttering the execution, in hindsight, this is the first time they actually show us where this is all going, creatively. 
More interesting, however, is the title. Under the fan nomenclature that sprung up around the new series, The Power of Three refers clearly not just to the numerical operation of “cubing” a number, nor just to the Doctor-Amy-Rory triad, but to the iteration of the Doctor played by Jon Pertwee from 1970-74. And true enough, Three looms large over this entire story. As he looms large over any “invasion of Earth” story, that being the format that defines his tenure. This is somewhat odd if one stops to think about it for too long – over his five years and twenty-four stories, only Spearhead From Space, Terror of the Autons, The Claws of Axos, and Planet of the Spiders are actually alien invasions as such.
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Comics Reviews (10/23/14)

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And at long last, we’re back. As ever, in ranked order, best of the week at the end, with the caveat that I liked everything enough to pay money for it. And I just trimmed my pull account by 25%, so that means I like everything that little bit more. Or that it’s nearly finished. Would have picked up AXIS #3, but ended up not actually picking my own books up today, and forgot to ask Jill to grab it from the rack. I bet I wouldn’t have liked it, though. I didn’t like the first two.

The Amazing Spider-Man #8

I’ve not been loving this title since it came back, and it almost got cut, but I’ll give it at least through Spider-Verse. So, six more issues, apparently. This at least has Ms. Marvel in it, which improves anything.

The Unwritten Apocalypse #10

As I have often said, I am sure this will all ready very nicely as a collected edition, much like the same team’s run on Lucifer did. There too, I bought the comic for years after I no longer had the faintest clue what the fuck was going on, but read it all in the end and enjoyed it. Here, I even sort of can remember the plot issue to issue, so it must be even better, right?

The Multiversity: The Just #1

The long-awaited return of Bloodwynd. Past that, this is a fun little romp through a particular corner of DC’s history, but I admit, I found myself looking forward to the ending – this felt like it moved rather slowly. More broadly, Multiversity isn’t quite fitting together for me yet. Though at this stage, neither was Seven Soldiers, so the jury’s still out. But thus far… this feels a bit flat.

Stumptown #2

Not a ton of movement in this one – we spend most of it rejecting what is, to my mind, a fairly uninspiring theory anyway, namely that of European soccer hooliganism coming to America. I like the cross-team rivalry PI dynamic, though, and I trust Rucka. A slow second issue isn’t a major problem. And even when slow, this book is a lot of fun.

Lazarus #12

An issue of characterization between major plot swings, held up somewhat by the fact that Malcolm is playing his cards so close to the chest that it’s impossible to actually know what’s going on. We’re in a passive role watching puzzle pieces slot into place, which is fine, but I doubt can be sustained over an entire arc. We’ll see, I suppose, bot whether Rucka tries to, and whether it works.

Avengers #37

So, we know this is building to Secret Wars, which is almost disappointing, inasmuch as it means it’s not building towards the end of a story. But two months into this timejump, Hickman is spinning the plates well. The inherent mystery about what goes in the gap between these books and the present-day of Marvel works well. I like the twist with Sue Storm.…

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An Imaginary Story (The Last War in Albion Part 67: Whatever Happened to the Man of Tomorrow, The Apocalypse)

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Last War in Albion will now be running on Wednesdays, with TARDIS Eruditorum moved to Mondays and Fridays for the remainder of its run. 

This is the seventeenth of twenty-two parts of Chapter Eight of The Last War in Albion, focusing on Alan Moore’s run on Swamp Thing. An omnibus of all twenty-two parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in six volumes. This entry covers stories from the fourth volume. It’s available in the US here and UK here. Finding the other volumes are, for now, left as an exercise for the reader, although I will update these links as the narrative gets to those issues.

Previously in The Last War in Albion: “Whatever Happened to the Man of Tomorrow” opens with one of the more famous passages ever written by Moore, which proclaims that “this is an IMAGINARY STORY (Which may never happen, but then again may) about a perfect man who came from the sky and did only good. It tells of his twilight, when the great battles were over and the great miracles long since performed,” it explains, and proceeds to tease much of the plot of the subsequent two issues, before concluding that the story “begins in a quiet midwestern town, one summer afternoon in the quiet midwestern future. Away in the big city, people still sometimes glance up hopefully from the sidewalks, glimpsing a distant speck in the sky… but no: it’s only a bird, only a plane. Superman died ten years ago…
“This is an IMAGINARY Story… Aren’t they all?” – Alan Moore, Whatever Happened to the man of Tomorrow
Figure 499: The first issue of John Byrne’s
Superman reboot carried an ad for Alan
Moore’s Swamp Thing run on its cover.
It is worth highlighting the degree to which this is, within the context of 1986 DC Comics, actually controversial. Certainly John Byrne, who was inheriting the Superman books after this, did not like it, complaining years later about how he cannot hear the phrase “imaginary story” “without a snide and ennui soaked voice whispering in my ear ‘but aren’t they all?’” Indeed, he suggests that Moore’s preface to the story “goes most deeply to the root” of “the many things that can be seen to have gone wrong with American superhero comics.” His reason for this remarkable claim is that “when we ask ‘Aren’t they all?’ we are looking behind the curtain. We are seeing that the Emperor has no clothes.” While Byrne’s concern about the prospect of readers looking behind the curtain at that particular moment is wholly understandable, given that what they’d see was Byrne taking the job of an acclaimed thirty year veteran of the industry who had just been unceremoniously fired, it stands in marked and, more to the point, ideologically grounded contrast with Alan Moore, who noted that when he first got into comics at the age of seven he “was probably preoccupied with the characters themselves.
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You’re Fast Becoming Prey to Every Cliché-Ridden Convention in the American West (A Town Called Mercy)

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The problem of Susan.
It’s September 15th, 2012. Ne-Yo is at number one with “Let Me Love You,” with Pink, Public Enemy, and Fun also charting. In news, an attack on the American embassy in Libya results in the death of the US Ambassador, among others. Andy Murray wins the US Open. Also, I turn thirty. How ghastly. 
While on television, A Town Called Mercy. It is easy to find fault with this story. This does not, however, make it any less worth doing. First and most simply is, of course, Susan, the trans mare. This marks the second time Toby Whithouse has completely fucked up trans representation (the first being his gobsmackingly transphobic bit of dialogue for Jack in Greeks Bearing Gifts over on Torchwood). One can certainly argue that Susan was not actually trans, and indeed, I am forced to do so, but let’s be clear that I am doing so only because the alternative is to have the Doctor misgendering someone, and no. One might argue that the intent was good, although I think you run aground pretty quickly when you realize that thus far all trans representation on Doctor Who has been for the purpose of jokes, which is actually pretty much the opposite of good intentions no matter how much you state it. It’s past fucking time we have a trans character on Doctor Who, played sincerely and sympathetically. Ugh.
Moving on, then, we get to more substantive issues. When looking at the allocation of episodes in this mini-season, the Moffat bookends seemed likely to be good, the Chibnall episodes seemed solidly unpromising, and then you had Toby Whithouse in the middle. Whithouse is an interesting writer – his three previous stories were good. His Torchwood script was at least well-crafted, which is one of the nicest sentences you can write that begin with the words “his Torchwood script.” Being Human is fabulous. He’s probably one of the more interesting possibilities for next showrunner, in that he’s got the basic ability to write in a bunch of different tones and to change things up within an episode. He can do scary, tragic, and funny in the same forty-five minutes, he’s got experience on big dramas. I’m really interested to see The Game when it drops, which, curiously, seems like it will be in the US before the UK. And so this looked quite promising.
But with A Town Called Mercy we see one of his basic virtues as a Doctor Who writer turn unexpectedly to vice. One of the things Whithouse has always been very good at is what we might call high-theme writing – the sort of thing that, in Doctor Who, came out of Paul Cornell’s early 90s embrace of Neil Gaiman’s “tell don’t show” approach, where you make sure whatever big statement about Doctor Who you want to make is actually delivered, as dialogue, within the text. This has been characteristic of the new series, and is actively reinforced with the famed “tone meetings” in which all the different departments are put on the same page about what the story is doing and then turned loose to contribute actively to the storytelling.
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Flatline Review

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This review was brought to you by the generosity of my backers on Patreon. Please consider joining them. Also, if you’re in the New York area, I’m doing a launch party for TARDIS Eruditorum Volume 5 (it’s out, by the way). That’ll be next Saturday, October 25th, at 3:30 PM at The Way Station, in Brooklyn. Copies of all five volumes of TARDIS Eruditorum will be for sale, and I will be signing stuff if you want to bring copies you already own. There’s a Facebook event page here. 

Hello folks. Let’s take the temperature of the world, shall we? Comments thus far are quite positive. GallifreyBase has an impressive 84.4% in the 8-10 range, with 9 being the most popular at 32.69%, which has this at slightly more popular than Mummy on the Orient Express. I’ll be honest, that surprises me a bit, as I was, for the first time this season, a bit underwhelmed.

That said, this one is tricky, and in a way that feels as though there’s an unusually high chance of my revising my opinion on it upon seeing what it’s actually building to. We’re to the point in the season where the finale is tacitly hanging over things, and this one in particular seems to be making some points about Clara that could feel very different in a couple of weeks. But for me, right now, it feels messy and untidy. Like Mummy on the Orient Express, its emotional resolution is consciously ambiguous, in a way that makes it end off feeling slightly less developed than I think the story actually is. This is due in part to the sneaky power of endings to redefine and reimagine everything that has come before, but it’s also due to the ending actually just not quite fitting with what’s come before completely.

So much of what is going on here hinges on the question of what Clara being elevated to having to “be the Doctor” actually means. Which is indeed a complex question, given the way in which the season has largely treated the Doctor as an object of the sublime – at once wondrous and terrifying. And so for Clara to become the Doctor is not merely aspiration.

This is a marked change – typically the “companion steps up” story is about the companion striving to be better. With Clara, it’s not quite. Indeed, there’s a genuine sense that in becoming the Doctor she has become lessened. In a season in which we have repeatedly been asked to consider the idea of a dark Doctor, and have in many cases simply done so unbidden, without the text particularly pushing us to, just by the knowledge that Peter Capaldi is playing him. Instead, however, especially as her relationship with Danny continues to paint her into an increasingly unsympathetic corner, it feels as though it’s in fact a season about a dark Clara.

And the contours of this revelation have been slyly hidden in the way in which the Doctor’s part has never been written as a traditional lead.…

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The Darkness Finally Screamed (The Last War in Albion Part 66: Crisis on Infinite Earths, Whatever Happened to the Man of Tomorrow)

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This is the sixteenth of twenty-two parts of Chapter Eight of The Last War in Albion, focusing on Alan Moore’s run on Swamp Thing. An omnibus of all twenty-two parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in six volumes. This entry covers stories from the fourth volume. It’s available in the US here and UK here. Finding the other volumes are, for now, left as an exercise for the reader, although I will update these links as the narrative gets to those issues.

Previously in The Last War in Albion: Alan Moore’s Swamp Thing tied in with Marz Wolfman and George Pérez’s epic Crisis on Infinite Earths.
“In the beginning there was only one. A single black infinitude, so cold and dark for so very long that even the burning light was imperceptible. But the light grew, and the infinitude shuddered, and the darkness finally screamed, as much in pain as in relief.” -Marv Wolfman, Crisis on Infinite Earths

Figure 491: The cover of the debut issue of Crisis on Infinite Earths.
This story, published as a twelve-issue limited series, was a watershed moment in the history of comics. It came about due to the confluence of two seemingly unrelated things: the fact that DC Comics took place in a multiverse consisting of infinitely many parallel universes, and the fact that over the course of the 1970s and 80s American comic book retailing had steadily transitioned from being dominated by newsstands and other magazine vendors to being dominated by shops focusing exclusively on comic books. 
This tendency began in 1972 when a bookshop owner and comics convention organizer named Phil Seuling created East Coast Seagate Distribution after negotiating deals with most of the major comics publishers to allow him to buy comics at a deep discount in exchange for the comics purchased being nonreturnable. Because this dramatically decreased the risk for publishers (who were, as ever, facing declining sales), this proved acceptable to the companies. Seagate then arranged to ship those comics to specialty shops. Over the course of the ensuing decade, this eclipsed newsstands as the primary means of distributing comics, in no small part because Seagate could routinely get comics to shops a week faster than the newsstands got them, a fact that comics fans quickly picked up on, bringing more traffic towards the specialty shops and away from newsstands. In 1973, the direct market consisted of approximately 25% of comics sales. A decade later, it was newsstands that made up only 25% of the market, and the industry was awash in regional distributors all in competition with one another. 
One consequence of this was a fundamental shift in the nature of comics readers. Whereas in their early days American comic books were read by a wide and general audience, the direct market sold entirely to people who were dedicated enough comics fans to go to a shop stocking specifically comics, as opposed to people who happened to pick them up from a magazine rack at the supermarket.
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Good Grief, It’s a Stegosaurus! (Dinosaurs on a Spaceship)

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Title accomplished. 

It’s September 8th, 2012. Little Mix is at number one with “Wings,” with Florence and the Machine, Sam and the Womp, and Taylor and the Swift also charting, the latter with “We Are Never Ever Getting Back Together,” which is the second best title we’re going to discuss in this post. In news, since it’s been a while since we’ve checked in, there’s been most of the US Presidential campaign, and at this point it’s settled to a nice, drab Mitt Romney vs Barack Obama contest. 620 million people lost power in India. The Mars Rover Curiosity landed. Oh, and there was Queen Elizabeth’s Diamond Jubilee, which was celebrated by forcing unpaid workers to sleep under a bridge.

While on television, Dinosaurs on a Spaceship, which is about what you’d expect. It’s not entirely unfair to accuse this story of aiming for mediocrity and hitting it squarely. Its title announces a somewhat spectacular lack of ambition – a Snakes on a Plane riff. That said, Doctor Who can fairly be expected to occasionally do frothy adventure stories, or, as we call them in fandom, romps. This one may come off as being particularly unambitious, but equally, there’s a brazen cheek to it that appeals.

Still, let’s look at what’s in this simple little romp. First, of course, is the premise – a Silurian ark that got hijacked by a man who can discern the value of anything in space and time, but who can’t actually fly it. The ship is given enough little details to be memorable – the tidal power is a clever image, although the physics of it seem strained at best. The “two people of the same genetic line” piloting is a contrivance, but again, at least a memorable one. We’re back in the territory of Doctor Who being about unraveling the nature of a world, which is always a nice sort of return.
There’s also the villain, Solomon, who’s one of the nastiest pieces of work the show has had in a while. David Bradley is one of several bits of top notch casting in this story, but in many ways what really jumps out is the fact that Solomon is so different from Bradley’s other recent famous nasty piece of work in a sci-fi/fantasy show. There’s a casual sadism to Solomon that crackles, especially in the blasé way that he describes killing off the Silurians. He’s sufficiently nasty that what would normally be the slightly shocking resolution of the Doctor actively killing him (which we all know he’s not supposed to do unless the villain isn’t human) seems oddly satisfying.
Also significant in terms of the premise is the Indian Space Agency, which is notable as the closest thing Doctor Who has ever done to actually setting a story in India or in any substantive way engaging with Indian culture. It’s a small touch, but one that carries real weight, even if the ISA ultimately just does the same stuff that every earth-based governmental organization always does when aliens are involved in Doctor Who, namely delay a bit and then try to blow them up to provide a climax to the story. 
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