Eruditorum Press

We don’t need AI to hallucinate.

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:

Pop Between Realities, Home in Time for Tea 83 (The 2012 Olympics)

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“One measures a circle starting anywhere.” – Charles Fort, quoted by Alan Moore in From Hell

Before we begin, a touch of housekeeping. The Williams book should be out within the week. I think it has something that will make a fair number of you excited in amidst the extra essays. Also, if you’re in the Cleveland area, I’m giving a pair of talks this week at the Lakewood Public Library. On Wednesday, at 7pm, I’m talking about Wonder Woman, doing “a comic for more or less every decade,” and then on Thursday at 7pm I’m doing one on Doctor Who that will be “a brief history of overthrowing the government.” Both talks are free, there will be books for sale and I’ll be signing, and it’ll be a good time, so if you’re local, please do come out. Now, on to the Olympics.

I think this will be the last time we do a Pop Between Realities that’s about a cultural event as opposed to another television series. Those have been sporadic features, and from time to time I’ve cheated – I did the Three Day Week of 1973 in the same post as Dad’s Army, for instance. But they’ve been a major part of what TARDIS Eruditorum is. So here we have yet another ending for the blog. Another tradition wrapped up. Another step towards the present.

The nature of how I write it these days is much closer to the early days than to most of the blog. I’m not back to writing things the day they post and them thus going up at erratic times, as they once did, but I am writing this about twelve hours before it goes up, trying to finish before bedtime, which is in about four hours because Jill and I are on days this week. I’ve just posted my Kill the Moon review, and have been enjoying the fires it lit. Over on Tumblr today, Jack Graham got an ask about TARDIS Eruditorum, and said some very sweet things, but mentioned a couple of objections, all of which are completely reasonable and insightful. But one managed to get under my skin, as the best criticism, which was his observation that I’m “overly teleological in this attitude towards the development of the show, especially with regards to the dawn of BBC Wales.” Which I absolutely am. Largely because I’m stuck being so. There’s always been a telos to TARDIS Eruditorum. Even when the specifics of its ending point weren’t completely fixed, it was always building to an ending out of necessity: eventually it was going to run out of Doctor Who. And because it’s presented itself as a narrative, that makes for an ending. Sure, I’ll do a Capaldi book eventually, and probably knock out a book whenever there’s an end of an era of Doctor Who, because I like writing about the series and the money’s good. But we’re still coming up on the end. Everything else will really just be appendices at that point.
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Kill the Moon Review

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This review is brought to you by 166 lovely people at Patreon. If you would like to join them in supporting these reviews, please do.

Let’s try something different. 
Let’s write this flat-out, without any reference to GallifreyBase, to second watchings, to anything. I have opened up the laptop the moment I finished it, and I am writing first impressions, as an honest, open review. I’ve not looked at Twitter reaction. I’ve not looked at comments. I am making an honest stab at staking out a critical position without any lens of history whatsoever. Because I don’t really care. I don’t want to contexualize this in the immediate critical reaction. I want to charge out all guns blazing and make a point, fully cognizant of the risk that I might turn out to be in a lunatic minority. 
This was the single best episode of Doctor Who ever.
I am using that sentence with perhaps an odd degree of precision. It is better at being Doctor Who than any previous episode, given that so much of what makes it work is that it is an episode of Doctor Who. It is unapologetic, and indeed triumphant about pulling tricks that only Doctor Who can do. “The moon is an egg.” I mean, that’s the most gloriously trolling reveal imaginable. It all but invokes Poe’s Law on a particular segment of criticism of Doctor Who.
And the joke is that the episode as a whole is a decisive move towards the classic themes of science fiction they espouse. Harness was apparently instructed to “Hinchcliffe the shit” out of the first fifteen minutes, and he did, but equally important is the way in which he Lamberted the shit out of it. On a very basic level, this starts like the show did back, well, in the immediate aftermath of two teachers from Coal Hill School confronting a secretive alien in their school. It starts with “here’s a weird place, let’s go explore it.” It does a self-consciously back to basics opening, complete with the Doctor not using the namechecked psychic paper and instead doing a classic, fast, and utterly believable bit of talking his way into command of a situation. There’s a self-conscious move, throughout the start of this episode, to frame Doctor Who in a very classic way.
That’s been a mission statement all season, but with the exception of Into the Dalek, which combined a visually splendid “here’s what Terry Nation wished you could see” with the same warmed over Dalek story we’ve been redoing since 2005, there hasn’t really been the decisive turn to doing the “here’s Doctor Who as you expect it, only not quite” approach that this season has been developing onto something that’s almost entirely composed out of the series’ golden age science fiction heritage. 
The series has gotten very smart about how it handles the near future, fully embracing the fact that it’s going to be proven wrong by longevity and accepting that you can still do interesting television that’s a clear extension of the immediate-term.
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More Hurt As I May Hold (The Last War in Albion Part 64: Criticism of The Curse, American Gothic)

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This is the fourteenth 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 third and fourth volumes. The third is available in the US here and the UK here. The fourth is 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 began a lengthy storyline usually referred to as the American Gothic story, in which Swamp Thing encounters traditional horror monsters in various American locales. One of the most notable stories in this arc is an issue called “The Curse,” about menstruation and werewolves in rural Maine.

“I is not want for come no more alive by fire, as like to this. It is not right. It is more hurt as I may hold.” – Alan Moore, Voice of the Fire
“The Curse,” however, was not an uncontroversial story. Indeed, it generated so much response that the letter pages of both Swamp Thing #45 and #46 were devoted entirely to letters regarding the story. For the most part, however, these letters were in favor of the story. The only outright critical letter in Swamp Thing #45 comes from a gentleman in (ironically) Northampton, Massachusetts, and complains that Moore repeats the phrase “hungry for the moon” too often, objects to the story’s generality in speaking for all women, and complains that the display of steak knives is unrealistic (“no market worth its liabilities would ever, ever, never-ever display its cutlery so dangerously”). Of these three complaints it is, in an idiosyncrasy typical of the sorts of comics readers who wrote in to DC letters pages in the 1980s, the steak knives that seem to be the biggest problem. Another letter, however, takes issue with the ending of the story, while still generally praising it. 
Figure 478: Phoebe lying dead under the howling moon.
(Written by Alan Moore, art by Steve Bissette and John
Totleben, from Swamp Thing #40, 1985)
This sentiment is shared by one of the two letters presented in Swamp Thing #46. This letter, by Mindy Newell, takes up most of a page, and Moore offers an equally long response in the letter page. Newell’s objection is straightforward – that Moore’s decision to have Phoebe kill herself is a weak cop-out of an ending. Newell writes, “I also understand that you were trying to point out to our male audience that women don’t deserve to be treated in such a horrific manner… that you were striking a blow, not just for equal rights, but for equal understanding.
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Comics Reviews (October 2nd, 2014)

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As always, ranked from least favorite to favorite, with the caveat that I like everything enough to pay money for it.

Thor #1

Why bother launching this on The View if the end result is going to be to spend an issue highlighting how much this is just a continuation of the previous volume of Thor? Why end this with the reveal of the character on the cover? Why have comics not moved beyond the storytelling prowess of 1970s Terry Nation stories? Goddammit.

Doctor Who: The Eleventh Doctor #3

It’s interesting to see what parts of this book come from what writers. On the evidence, Al Ewing is providing more of the emotional heft, while Rob Williams provides more of the zany and big ideas, this one incorporating a bevy of twists. The result is something that feels more like the generic Doctor Who licensed comics we always get and less like what had been making this book special in the first two issues. Not bad by any measure, but the fact that a noticeable dip in originality and freshness came with the change to the second writer is a sad sign.

Moon Knight #8

I’m still not entirely sold on the turn to arc-based and continuing plotting. This was fine and a good issue of Moon Knight, but the loss of Warren Ellis’s ideological purity is just that: a loss.

Miracleman #11

I forgot the way this book kicked up a gear in Book Three. V for Vendetta does the same thing, though nobody ever notices because it’s collected in one volume. As should Miracleman be, given that it’s actually not much longer than Watchmen in terms of page count. Instead, as ever, we get $4.99 issues for sixteen pages of story. Bastards.

Silver Surfer #6

At last, the book arrives at its actual premise. And it’s fun, and exactly the sort of “Jack Kirby’s Doctor Who” feel that this book promised over half a year ago. Comics. The medium for people who resent it when things happen in their media. Still, it’s churlish to overly resent this comic because the previous five took too long to get here. This is very fun, and the better of the two Doctor Who comics I bought today. It may share some problems with Thor, but the problems are in past issues, not this one.

Rat Queens #8

No idea what the plot of this book is anymore, but it’s one of those I simply don’t care. It’s fun. Every month. By the time I get to the end of the issue I’m at least enjoying the characters in the issue. Should sit down with this and get into it, as I really enjoyed the first few issues when I shotgunned them. Not working for me as well serialized, but that’s true of a lot of comics.

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All comics below that line there are ones I would with a straight face recommend people pick up if their premises sound interesting.…

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Outside the Government: The Reichenbach Fall

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It’s January 15th, 2012. Jessie J is at number one with “Domino,” with Flo Rida, Coldpay, David Guetta, , and Rizzle Kicks also charting. In news, the Scottish government announces that the independence referendum it’s been promised will go forward in 2014, and William Daley steps down as White House Chief of Staff. 
And on television, Sherlock finishes up its second season. To those paying attention to such things as writers, this looked ominous in one key regard, in that it seemed a mirror of the one outright dud in the first season of Sherlock – the one written by Steve Thompson and not directed by McGuigan. Thompson’s oeuvre at this point, at least in terms of things Doctor Who fans looked at, consisted of The Blind Banker and Curse of the Black Spot. To give him the big epic finale seemed an exercise in madness. And yet the result was the peak of Sherlock’s cultural capital – an iconic cliffhanger that casually owned popular culture for a while in its wake, and again in the lead-up to its resolution. It’s difficult to overemphasize how big this episode was. It may have been the lowest rated of its season, but it was by far the most impactful. In the immediate aftermath of transmission, the pop culture was absolutely obsessed with the cliffhanger. It may not be the most watched or the best episode of Sherlock. But the end of this one is the iconic and defining moment of the series. 
Cynics will suggest, not without reason, that this story was by Thompson in the same way that The Impossible Planet/The Satan Pit was by Matt Jones or The Celestial Toymaker was by Brian Hayles. And certainly there’s no way that Thompson wasn’t closely supervised here. It’s also the case that when watched without the giddy excitement of context the joins and frailties of the script are somewhat more visible. This is a desperately untidy affair in which the twin motors of a plot that moves faster than its holes and the sense of Aristotelean tragedy keep afloat a story that could easily have gone the way of Journey to the Center of the TARDIS. 
Which is, to some extent, the reason that putting Thompson on this story was always going to be OK, because the sheer scope of the story was going to overwhelm its quality. For all that this owned popular culture momentarily, ultimately, it’s only the last bit of the episode that anyone cares about. And fair enough – it is a wonderful cliffhanger, simply because it embraces its own inevitable resolution. The episode doesn’t even bother trying to leave any ambiguity or suspense over whether Sherlock survives. Even his death isn’t really trying to be sincere, with a carefully and meticulously scripted bit of John’s POV that’s clearly there to leave enough space in the margins to come up with a plausible means of Sherlock’s survival. The episode never deludes itself into thinking its mystery is going to be “whether” and not “how,” and leans into it beautifully.
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Outside the Government: The Hounds of Baskerville

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It’s January 8th, 2012. Flo Rida is at number one with “Good Feeling,” wiht Coldplay, Jessie J, Rihanna, and Raio Cruz also charting. In news, Gary Dobson and David Norris were finally convicted of the murder of Stephen Lawrence, and Michelle Bachman dropped out of the Presidential race following Rick Santorum’s win (by a stunningly small 34-vote margin) in the Iowa Caucuses. 
While on television it’s The Hounds of Baskerville, an adaptation of what is arguably the most famous Sherlock Holmes story ever. This speaks to the way in which the confidence shown by Scandal in Belgravia was, broadly speaking, reflected in every aspect of Sherlock’s second season. From the start, Moffat and Gatiss announced the grandeur of their plans, with the still memorable trio of one-word teases: Woman, Hound, Fall. Immediately the three stories being used snapped into place, and nobody made any excuses – the plan was clearly to tackle the three most iconic Sherlock Holmes stories not to be Study in Scarlet. 
In hindsight, thinking about it, this was always going to be the tricky one. “Scandal in Bohemia” and “The Final Problem” are both massive stories in part because they put Sherlock Holmes in extremely unusual and dramatic positions. They largely modernize themselves. But The Hound of the Baskervilles is iconic more because it was a tremendously popular novel at the time, and has been frequently adapted. It’s not a story that involves any particularly major change for Sherlock Holmes. It’s just a particularly classic Sherlock Holmes story. Although, adding to the difficulties, Sherlock is actually not in large swaths of it.
Still, certain aspects of the approach all but decided themselves. Certainly this had to be the middle episode, by dint of being the one that least disrupted Sherlock as a character. It was also as self-evidently the one Mark Gatiss should write as Scandal in Belgravia was the one that Moffat should write. Past that, however, the way to approach this is almost all question marks and challenges to overcome.
To some extent, however, with Gatiss in place the solutions to most of these challenges became, if not self-evident, at least simpler. Gatiss is and always will be a nostalgia artist. And so when tackling something like adapting The Hound of the Baskervilles, he was always going to stick as closely as possible to the iconography of the original. And yet in many regards his most important decision in terms of how this episode works is the major change, which is to change Baskerville from being Henry’s family name to being a mysterious government research facility. Gatiss’s interview-stated reasons for this – that conspiracy theories are what’s scary these days – are as idiosyncratic as most of Gatiss’s stated plot logic, but it nevertheless proved a savvy choice for other reasons.
In effect, what the decision to have a gleaming white research facility as one of the major settings for this story did was, over the course of ninety minutes, make it so that it could go back and forth between the Dartmoor setting and a visually different place, allowing each location room to breathe.
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The Caretaker Review

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This review was brought to you by 163 backers on Patreon, who would love for you to join them. 

So, since it seems to be the standard opening rhythm for these things, twenty minutes past transmission we’re at 59.7% at 8-10, with 8 being the most popular pick at 29.25%. Thread titles include “this years arc sucks,” “A thing! again,” “Clara’s skirt!,” and “Peter C was on fire tonight,” which, really, seems so utterly standard it’s hard to draw any conclusions. Twitter seems positive. For my part, I liked this a lot, although it definitely took the second viewing for me to really grok it, because I was busy being surprised by its tone on the first pass. I suspect it will watch much more smoothly to people who weren’t foolish (or fannish) enough to have expectations, however.
Ah, yes. Expectations. You know what, let’s take stock of where we are. First episode of autumn proper, halfway point of the season. It’s a good time for taking stock. 
In the UK, it’s well past night-time, to the point where this review is posting after people are largely gone to bed. Here, it’s a bit before sunset. My wife’s just left for her last night of work on the Oncology floor, before she transfers to a different floor to broaden her experience a bit. I’m up for a while yet, planning on writing some of the V for Vendetta chapter after this, after I walk the dog and grab some dinner. The episode’s not on for another three or four hours yet, so this is going to go out into the void to an extent, really playing only to the Americans who pirate it from the UK streams and late night Brits.
Based on the most current news, the program is on a ratings hot streak like it hasn’t seen in a while. All four episodes with final ratings have been in the top ten for the week, and there’s some high-powered competition on the air. This week is particularly dicey for ratings obsessives, as the BBC is confident enough to throw it up against The X-Factor. To be honest, expect a panic tomorrow when people start reporting the overnights, although it’s almost certainly going to stabilize out, whether through time-shifting (which always adds a healthy couple million to Doctor Who’s ratings) or through iPlayer (which doesn’t get counted yet in ratings, but adds another million or so).
There’s several ways in which the program feels like it’s genuinely in a different place than it was a year ago. This is worth noting explicitly in an episode that is, as much as anything, about reaffirming the end of the Eleventh Doctor era. This is the last episode of the half of the season where it was relatively easy to guess what you were going to get. It’s not that it’s been devoid of surprises – hello Listen – but the surprises have generally been within episodes. Every week after Deep Breath, you basically knew what you were going to get if you were paying attention to writers, episode titles, the Doctor Who Magazine descriptions, or, let’s be honest, the script and screener leaks, which vented an awful lot of spoilers into the atmosphere.
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Talking About Meatballs (The Last War in Albion Part 63: American Gothic)

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This is the thirteenth 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 second and third volumes. The second is available in the US here and the UK here. The third is available in the US here and the 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 introduced a new character, a working class British occultist named John Constantine, to serve as Swamp Thing’s guide for a journey across America typically referred to as the American Gothic arc.

“I am not talking about meatballs. I am talking about STEAK!” -Diamanda Galas, “Wild Women with Steak Knives”
This serves as the beginning of the so-called “American Gothic” arc (the name was never actually used in the comics), a storyline in which Constantine leads Swamp Thing on a tour of the United States to confront various classic horror tropes like vampires and werewolves. The timing is apropos – Moore had taken his first trip to the United States in August of 1984, midway through the Arcane arc of Swamp Thing, and the same month that Marvelman ceased publication in Warrior. There he had hobnobbed with DC executives and gotten variously praised and treated as a bit of a golden boy. He hit it off some of the DC staff – particularly with his editor, Karen Berger, and with Julius Schwartz, a long time DC editor, who impressed Moore by having the signature of H.P. Lovecraft in a scrapbook, having served as his literary agent late in Lovecraft’s life. Others proved chillier – Paul Levitz, a fanzine writer who had steadily ascended into upper management at DC, referred to Moore as his “greatest mistake,” a line that, whatever was meant by it in 1984, has bottomless depths of iciness in hindsight. 
Figure 470: The aquatic vampires of Rosewood
Illinois. (From Swamp Thing #38, 1985)
And so it was hardly a surprise that Moore would opt to explore the American-ness of his newfound success. And, given that his success was proving as a horror writer, a tribute to American horror must have seemed wholly appropriate. And on target – Levitz’s words perhaps ringing in his ear, Moore started the arc with a strangely barbed story. The choice of Rosewood, Illinois was not an arbitrary setting. Martin Pasko, early in his Swamp Thing run, wrote a story set in a town called Rosewood that featured Swamp Thing fighting vampires, with a father and son sacrificing themselves to flood the town and drown the vampires.
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Comics Reviews (9/25/14)

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Last week is last week. I shan’t go back.

From worst to best.

The Sandman: Overture Special Edition #3

I wouldn’t normally even count this as a release, as it’s a clearly gratuitous and unnecessary publication for collectors, but I felt like I should single this issue out for having the single worst interview with Neil Gaiman that I think I’ve ever seen.

New Avengers #24

A good week if this is the lowest of the new comics. Several interesting things going on here, and if Hickman can (as he does here) stay focused on the characters and not wander off into endlessly and vaguely restating the same hope/anxiety positions about the nature of the future, he could manage a very sharp finale to this run. And, I mean, I have to love any comic that uses a splash page reveal of Molecule Man as its cliffhanger.

The Massive #27

Huge numbers of reveals, such that it’s rather difficult to see how there are three more issues of this. I suspect that there’s little this book can do to make me not feel like it was a bit of a wasted opportunity. Ultimately, I wish it had been written by Warren Ellis. Or someone who could actually do the book this is trying to be.

Chew #43

A strange sense of deja vu, inasmuch as I swear the comic has done this cover gimmick before. Plot marches on. I’ll be honest, this is a book I wouldn’t keep buying if issue #1 was at this level of quality, but at this point it would have to do something really infuriating to get me not to stick out to the end. Ah, the sunk costs fallacy, also known as the comic industry’s business model. Of course, fridging Olive like they seem to be setting up would do it.

Mighty Avengers #14

A sweet and ruthlessly optimistic ending to the current arc, setting up the “we like this book but it’s not selling so let’s do a title change and a new #1” reboot with aplomb, reminding people who have been buying the book why they like it, bringing this phase to what feels like an ending, and being well set up for the next round. Plus, it’s a book whose best line manages to be “Yay! Good work, team!” Which is cute.

Guardians of the Galaxy #19

OK, after a fluff of a first issue to this arc, this one is starting to grab my attention. The question of Gamora’s moral judgment of Quill works for me this time in a way that it didn’t the first time (probably because, having no idea of the background to this arc, I was busy being thrown by learning the questions at the same time Bendis was answering them). Curious how it resolves. And it had better resolve next issue, because I suspect three issues is a lot for this story.

Cyclops #5

This ends Rucka’s bit on the book, yes? A very solid, standard Rucka issue here.…

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Outside the Government: A Scandal in Belgravia

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It’s January 1st, 2012. Coldplay are at nuber one with “Paradise,” with Flo Rida, Rihanna, Ed Sheeran, and LMFAO also charting. Since Christmas, Samo aand Tokelau switched sides of the International Date Line, and Harry Burkhart committed two million dollars worth of damage in an arson spree in Los Angeles. 
While on television, Sherlock returns with A Scandal in Belgravia. This is, quite simply, a phenomenal piece of television. It belongs on lists alongside The West Wing’s “Two Cathedrals” and Buffy the Vampire Slayer’s “The Body.” It’s smart and ambitious, and everything it tries comes off nearly perfectly. It calmly and definitively sums up what this take on Sherlock Holmes can do, and why it’s valuable and interesting – a marvelous case of a show being its own best advertising. Even more than its barnstorming premiere, this is an episode you can show people to hook them on the show. 
With so much talent on display here, it seems silly to credit it all to Moffat. But in the end, this episode works because its script provides such a strong foundation. First and foremost, A Scandal in Belgravia consists of Moffat luxuriating in the structure of writing. Moffat has always been an intensely structural writer – as a farceur has to be, really. But more than that, Moffat has always been unafraid of foregrounding the structure, writing television in which part of the pleasure is watching the story unfold in the peculiar shape he’s put it into. 
But in the past, Moffat has relied on structural cleverness to create big, landmark episodes of series like Coupling and Press Gang where the budget didn’t give any other ways to go big. With A Scandal in Belgravia, on the other hand, he finds himself at a seeming summit of his career, with opportunities unlike any he’d had before. The ninety minute format gave him space to work that he’d never had before – he didn’t even have the obligation of a cliffhanger at the forty-five minute mark to work to. In Cumberbatch and Freeman he had as solid a cast as exists.  With Sherlock as a bona fide hit, there was the budget to do, if not whatever he wanted, at least more or less anything that might be required of an action-adventure plot. He’s got a top notch director.
The last time Moffat faced a situation like this he produced The Empty Child/The Doctor Dances, but there, at least, he still had the advantage of low expectations. Here there’s no shield – Moffat’s only options are to show that he’s as brilliant as claimed or to disappoint. He didn’t disappoint. 
In many ways this comes from Sherlock’s structure, which is almost tailor made for Moffat to succeed with. The show is, by its nature, built around moments of dazzling exposition, that being, in a real sense, the entire point of Sherlock Holmes as a character. These are also the sorts of scenes Moffat excels at – he’s always been extremely good at using exposition scenes for characterization and comedy.
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