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:

June 7, 2013

Pop Between Realities, Home in Time for Tea 62 (Battlestar Galactica)

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“What about the United States” is, of course, a terribly weird move to make right now. After all, by the time The Christmas Invasion, which we’ll deal with on Monday, aired in the UK, exactly zero episodes of the new series had aired in the United States. Indeed, the airing of Series One in the US coincided with much of the airing of Series Two in the UK. The show’s US popularity lagged the UK by a quite massive margin. So for the most part the question of Doctor Who in America will be tabled until Matt Smith and BBC America, who do, shall we say, rather a better job with the show.

Still, let’s talk about its initial American context on the Sci-Fi Channel. The Sci-Fi Channel is one of the most unfortunate ideas in television history. It was launched as a cable channel in the early 90s, when cable was expanding and everybody thought cult television was actually a way to make money. (A year before The X-Files, then.) Unfortunately this turned out not to be the case. Sci-Fi Channel’s original plan of running old cult series acquired cheap never quite took off, and their forays into original programming were, for the most part, similarly unsuccessful. On the occasions they created good programs – Farscape, for instance, which actually ran after Doctor Who Confidential on BBC Three – they usually ran into the problem that good cult-style science fiction was expensive to create and drew too small an audience to be worth it, which is where most science fiction of this sort falls down. Farscape was good, intelligent, funny, and never attracted ratings high enough for a marginal cable channel like Sci-Fi to produce it.

It’s worth noting that even though science fiction is broadly popular, there’s virtually none of it that’s done in the old cult model anymore. Anyone pitching a high-budget science fiction action-adventure serial aimed squarely at males 18-35 is going to be laughed out of the room. Seriously, is there even a single show that works that way anymore? I’m pretty sure they’ve all adopted some version of the high emotional content/soap opera plotting approach now. (The last arguable survivor I can think of, Warehouse 13, is slated for demolition next year, and is hardly primarily a male audience anyway. Maybe Arrow? I’ve not bothered to watch.) And accordingly, the Sci-Fi Channel, these days rebranded as the non-committal and more trademarkable SyFy, steadily became a shockingly low rent channel known for deliberate pieces of cheese like Sharktopus, more ghost hunting than you can shake a stick at, and a lot of professional wrestling. (A parenthetical on this, as it may well be an entirely US thing – professional wrestling is not actually a sport but a simulated one in which results are pre-determined and stuntmen perform fake wrestling matches according to long-running plotlines. Basically, it’s a gobsmackingly homoerotic soap opera that pretends to be a sports competition. So like the Premier League, only with more match-fixing.)…

June 6, 2013

Outside the Government 10 (Doctor Who Confidential)

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Let’s start with the end – the first season finale of Doctor Who Confidential, which culminates in a celebratory montage of the Ninth Doctor year arranged to Snow Patrol’s “Run.” To anyone with a passing familiarity with fan culture this, and a wave of similar montages across the preceding six-and-a-half hours of television is immediately identifiable as a vid, or fanvid. We could go down quite a rabbit hole here, but suffice it to say that fanvids are fan-made music videos that set clips of one or more films/television series to popular music. Many of these are just unabashed lovefests – four minutes of squee set to a Coldplay track. Others present new perspectives on the original text. Slash perspectives are of course common, as are reworkings to create new POV characters and other sorts of narrative commentaries.

There is, of course, nothing hugely innovative about this sort of thing. If we want to treat the end of Doctor Who Confidential as a fanvid then we have to allow the precedent to go back decades at the least. Putting the complete lack of effort into researching it that I want to, I can off-hand go back to the series finale of Seinfeld as having done a celebratory montage set to pop music. If we allow for sports programming to count then professional equivalents of fanvids are made to fill time on schedules on a regular basis.

Nevertheless, it sets the tone for Doctor Who Confidential. We should pause here to note that making a fanvid is bloody hard, doubly so if you insist on a measure of quality in the end result. Syncing events well to the music, getting the events selected to form a narrative, having clips long enough to be recognizable and intelligible but short enough to remain punchy and varied – these are hard things to do. And while there are no shortage of crappy vidders in the world, there are also ones who routinely demonstrate that they’re as good at editing as the professionals.

Which is, to a large extent, what Doctor Who Confidential is about: demonstrating the artistry involved in Doctor Who. Which is by no means inconsiderable. The vastness of the paratext surrounding the first six series of Doctor Who, across Doctor Who Magazine, Doctor Who Confidential, and DVD commentary tracks (every episode of the Davies era has a commentary track on the DVD sets, and after Series One every episode has a second commentary track available as a BBC Radio 4 Podcast) mean that Doctor Who in the Davies era is documented with a level of detail that is mind-wrenching. And one of the things that really comes out as a product of all of this is that an absolutely staggering amount of thought goes into a given episode of Doctor Who.

This is something that presents a critical complexity. One of the frequent debates about my readings and views on Doctor Who is the eternal question of whether I’m “reading too much into” things.…

June 4, 2013

This is Not a Review Blog

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That’s something I say on a regular basis – that what I do here isn’t primarily to discuss what Doctor Who stories are good or bad, but to discuss what’s interesting about them and to tell a story out of them. And that’s very important to understanding the blog.

But that doesn’t mean I don’t have opinions, and since Gallifrey Base is running weekly mini-forums going over the history of Doctor Who a few years at a time, I’ve been entertaining myself by actually bashing out short reviews of individual stories. So I figure why not compile them here. So in honor of my moving from cleaning up the Hinchcliffe era entries to making another pass over the Hartnell stuff, here’s my short reviews and ratings for the Hartnell era.

An Unearthly Child: Fairly marvelous. The caveman bits get unfairly slagged off because they stop being fundamental bits of the series mythology, but only because they’re fundamental bits of the mythology of a series that never got followed up on. The show that’s about the sheer terror of the TARDIS and the untrustworthiness of the Doctor isn’t one that would have run for fifty years, but it’s a damn sight better than most of the rest of Season One. 7/10

The Daleks: The first cliffhanger, and the shot where the camera pulls away from the TARDIS crew to reveal a room full of incomprehensible things. We have now exhausted the good parts of The Daleks. But holy GOD those two are good parts. 3/10

The Edge of Destruction: One of two stories in the first season that outright work. Its worldview is very strange – it feels more 1960s than anything else in the first two seasons save maybe The Space Museum – but it creates a fascinating collage of classic science fiction and surrealism. David Whitaker remains one of my absolute favorite Doctor Who writers. This is just a wonderful piece of television. 8/10

Marco Polo: I complain about the pacing on most of the first season, but this one takes the cake – seven episodes of meandering in search of a plot structure. This is in the period where the show was a serial that would spin its wheels fruitlessly for a random number of weeks before moving on to a new premise. By the standards of Saturday teatime entertainment merely tolerable. By the standards of something to watch voluntarily fifty years later, a car crash. 2/10

The Keys of Marinus: Unwatchable – everything that’s wrong with a Terry Nation script at one time. 1/10

The Aztecs: Hard to believe this was by the writer of Marco Polo. Everything that story gets wrong, this one gets right – it’s immaculately structured, and with so many dramatic character beats. Along with The Edge of Destruction, the two stories from the first year that really, unequivocally work. 9/10

The Sensorites: The pacing is, as with most of the first season, shot to hell. But the moments of pure charm really stand out.…

June 3, 2013

I Wasn’t The One Holding a Gun (Bad Wolf)/A Fighting Hand (Parting of the Ways)

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This entry should appear as two columns. If it is appearing incorrectly or unreadably, a simplified version is here, but does not provide the intended reading experience and is not recommended. Thanks to Anna Wiggins for formatting assistance.

The Anne Droid purifies a leaden contestant to gold.	We play the contest again, Mr. Whitaker.
It’s June 11th, 2005. Crazy Frog is at number one with “Axel F.” Foo Fighters, Coldplay, Gwen Stefani, the White Stripes, Akon, and the Gorillaz also chart, the latter with “Feel Good Inc.” News, fittingly, is a near-total blackout. Seriously – I can find next to nothing in the news for this week.	It’s June 18th, 2005. Crazy Frog’s “Axel F” is at number one. U2, The Gorillaz, Jamiroquai, Foo Fighters, and the Black Eyed Peas also chart, the latter with “Don’t Phunk With My Heart.” The only real piece of news is John Sentamu becoming the first black Archbishop when appointed Archbishop of York.
I guess there’s The Guardian running a Pass Notes on the whole “Bad Wolf” idea, which technically happened after this episode, but which is ultimately more related to the episode called Bad Wolf than to the finale where that concept is revealed in full. (After all, following Bad Wolf the meaning of the phrase seems apparent – it’s a trap laid by the Daleks. It’s not until next episode that this gets complicated.) But its existence reflects the degree to which “in the news” in fact, this week, consisted of this episode itself. Doctor Who was the news, not just televisual background radiation, but a massive, central part of British television. What happened in Doctor Who was considered news. For anyone who had lived through the wilderness years the very idea is completely ridiculous.	So, television then. For all that The Parting of the Ways is a grand bit of “event” television – an episode self-consciously crafted as a Moment, if you will, it remains the case that, ironically, this got the lowest ratings of the season. Its attempted event – the shock regeneration of Christopher Eccleston – flopped, revealed three months ahead of time in the papers such that this episode led to inevitable climax instead of the most giddily impish shock of all. It’s completely wrong to suggest that Parting of the Ways fizzled – it didn’t at all. But it’s also wrong to suggest that it’s the climactic moment of Doctor Who’s first series is, in a cultural sense, simply wrong. The climactic moment was Rose, with everything else just being the consequences of that success.
But it’s actually even stranger than it seems. It’s not just Doctor Who being a big deal – it’s the particular nature of what the deal was. “Bad Wolf,” after all, is as culty as cult can be – a bit of television designed only for obsessives. And not obsessives of the sort at whom Boom Town was aimed, but ones who are going to obsessively analyze episodes for fleeting lines and visuals.

…

June 1, 2013

Sunday Pancaking (June 2nd, 2013)

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Right. Another seven day week then, I suppose.

So, first of all, let’s all discuss and freak out over the regeneration news, shall we? Since everyone’s going to do fantasy casting, let’s go ahead and do the requisite open thread in which we all speculate over who they’ll cast. But why make this blog like every other speculation thread? So let’s put up a constraint: no white male choices. Women and minorities only.

Second, because everyone is going to ask, yes, this does change the plan for the blog’s endgame. There’s no point in getting four entries into the Twelfth Doctor before ending the blog – it’s just a rubbish endpoint. So instead, barring major plot twists, Matt Smith’s regeneration story will be the final post of TARDIS Eruditorum. Obviously there’s a high chance of me going back and doing the Twelfth Doctor at some point, but equally obvious, I’m not going to make any firm plans on that right now.…

May 31, 2013

Saturday Waffling (June 1st, 2013)

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Well, that’s another week over and done with, so it’s time for the open thread. It was a blog-writing week for me, which is always a busy one – at the moment I’m about a thousand words into The Christmas Invasion, which will post not this Monday but next, with one more post to do over the weekend. I’m also in the midst of some housekeeping on the blog, and failing spectacularly not to have large swaths of my time eaten by laying groundwork for the British Comics Project, which in no way needs to be done now, but which seems to want to be played with, so, you know, obey the muse.

Actually, one of these days I should start talking about what I have planned for that project, which secretly has a real name now instead of “the British Comics Project” and a bunch of cool ideas on structure and scope. And nothing resembling a way it will ever turn into neat and orderly books that people will want to buy. So I’ll probably have to figure out some other way of funding that. (Current candidate: write myself about a month-wide buffer and offer cheap monthly subscriptions to read a month ahead instead of at the public blog pace.)

Currently I plan to let that run alongside the last month or two of TARDIS Eruditorum, which probably has a bit more than a year left to run. So it probably is too early to start revealing much of anything.

So let’s turn the question around – what creative projects are you working on?

One of you I know the answer for. Josh Marsfelder has been getting underway with Vaka Rangi. Josh is one of my longest standing readers, and I’ve been nagging him to do an episode-by-episode blog of Star Trek for ages, mainly because I want to read one and will never get around to writing one. If TARDIS Eruditorum is a history of the utopian possibilities of the particularly British image of eccentric spaces and portals to faerie, Vaka Rangi is a history of the utopian possibilities and problems of the American image of the frontier. It’s intelligent, often scathing, and one of the most exciting blogs I’ve seen start recently. Go get in while catching up is still a quick job.

In the mean time, what are the rest of you up to creatively?

…

May 31, 2013

Pop Between Realities, Home in Time for Tea 61 (Big Brother)

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I could never have written this post as well as Richard Jones, and so I asked them to step in for a guest post. This is one of the best decisions I have made in the course of this project.

In 2009 everyone was hard at work writing blog articles in anticipation of ‘The End of Time’, the grand finale to Doctor Who’s Davies era. io9’s contribution took an interesting approach, offering a list of the errors the production ran the risk of making.

“Though there’s absolutely no denying Davies has successfully forged a massive popular (and, to a slightly lesser extent, critical) success with his revival of Doctor Who,” wrote Alasdair Wilkins, “I’m sorry to say that I’m still not entirely convinced he’s all that good at writing episodes of Doctor Who.” Yet hope remained. Perhaps Davies could learn from the mistakes the article identified and seize this last chance to convince? A key point on this syllabus of errors was the way Davies’ Big Climactic Epics interacted with pop culture. The article made it clear that it didn’t “have anything against Richard Dawkins having a cameo on Doctor Who” but that it’s “kind of a shame that Christopher Eccleston’s final appearance will forever be linked to Big Brother.”

For Wilkins, timelessness and obtrusiveness were what made Dawkins okay and Davina not, but for some who find Big Brother’s role in the 2005 finale to be a thing of shame there may be a few more cultural value judgements weighing down. Many fans have a lot invested in the idea that Doctor Who is one sort of television and Big Brother is another. For them to be occupying the same space so brazenly is a challenge. This is the Ninth Doctor’s regeneration story. This will be in lists. This grants “a Dalek plot involving Big Brother” the same eternally iconic status as “falling off a big telescope.” What are we supposed to do with this?

The BBC have on three occasions obtained the rights to broadcast shows using the Big Brother format. Two of them made it very clear how they felt about it. Extras was tediously and hypocritically anti, while Celebrity Big Brother was so uncritical that it found itself reabsorbed as an enduring stand of Big Brother, the fact that it was once a strand of Comic Relief quietly forgotten. If the very thought of Big Brother makes you angry then you’re going to get on fine with Extras and have no truck with Celebrity Big Brother. But what are you supposed to make of ‘Bad Wolf’?

It feels like it should be a showdown. The ratings demolition of ITV’s Celebrity Wrestling is such a part of the 2005 season’s industry mythology that it almost feels like that’s the arc here. Scripted Family Drama returns to a broadcasting landscape dominated by Reality TV! Scripted Family Drama casts down the Wrestley Champion sent by Reality TV to oppose it! Scripted Family Drama arrives at the Castle of Reality TV to do final battle with Big Brother, UNHOLY SIRE OF THE DARK POWER THAT HOLDS THE LAND IN THRALL!

…

May 29, 2013

Shockingly, The Daily Mail Is Evil

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Some of you may have had the “luck” of seeing the media shitstorm whipped up around Intellect Books’s forthcoming anthology Doctor Who and Race, edited by Lindy Orthia. If not, it’s exactly what you’d expect; the Daily Mail got a copy and decided to run a typical Daily Mail article in which the bizarre leftist intellectual attack on an upstanding British tradition is exposed to reveal the menace of the… whatever, really. (Obviously the Daily Mail likes Doctor Who today, since attacking academics is more important than making the BBC look bad. They can always go back to hating Doctor Who later, after all.)

I was one of the peer reviewers for the anthology, and while it would be inappropriate for me to offer a full review of the book, not least because I saw an older draft of it, I am in a position that virtually nobody else commenting on this kerfuffle is in that I’ve actually read the thing, as opposed to just the Daily Mail article. So after checking with Ms. Orthia that opening my mouth would be OK, I figured I’d weigh in.

First of all, absolutely every story on this is a retread of the original Daily Mail story, which if you really want to read you can find here, but be sure to swab your monitor down after. To be fair, pissing off the Daily Mail is the very definition of picking the right enemies, and I’m frankly jealous of Ms. Orthia for pulling it off. So the bulk of this should surprise exactly nobody. Still, let’s make a few observations. First of all, let’s note that the two essays singled out in the Daily Mail article are, in fact, the first two in the book. It’s not even clear the Mail received the entire book – the first ten percent of it would be sufficient to write the takedown they mustered. So actually, maybe I actually am the only person in this kerfuffle who’s read the book.

The Daily Mail’s screed objects to two essays, both in the first four of the book. The first, by the blogger Fire Fly, is admittedly problematic. In fact, at least in the version I read, I found it a terribly weak essay that systematically overstated its claims. It’s a reworking of a blog post, and it reads like one – a polemical screed of the sort that’s perfectly sensible as a discussion-starting bomb lobbing on the Internet. As the opening chapter in a pop-academic anthology presumably aimed in part at Doctor Who fans, it’s a… poor choice, and one that absolutely everybody should have expected to cause exactly this reaction.

But crucially, it’s one essay, and the only one that’s anywhere near so polemical. The other essay criticized, Amit Gupta’s look at the use of cricket as a signifier in the Davison era, is utterly tame, and it’s almost funny to see the Daily Mail lay into it. It is, in effect, a primer on the status of cricket as a cultural signifier in the early Thatcher years, and something it is nearly impossible to work up any meaningful objection to.…

May 29, 2013

You Were Expecting Someone Else 23 (Only Human)

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When the writers for the first series of Doctor Who were announced, they were a fairly sensible lot. It was, by and large, a particular social circle of Doctor Who fans who entered television writing in the years immediately following the series’ cancellation. All had written either for Virgin or Big Finish, and they were all only one or two degrees of separation from each other in terms of being close friends or colleagues. They reflected, in other words, a particular generation of Doctor Who creators. For the most part they were of the Virgin generation, although, as noted, all but Moffat and Davies himself had written for Big Finish as well (and Moffat had been invited to write for Big Finish, but declined because he didn’t want to write past Doctors). But for the most part they represented the writers on the good half of the Wilderness Years, and their departure as the major creative figures in Doctor Who coincided with the post-TV Movie decline.

Given all of this, there was a name whose absence from the first series writing credits stuck out a bit: Gareth Roberts. He was, after all, one of the acclaimed figures of the Virgin years, had a number of high profile Big Finish audios, many with regular co-conspirator Clayton Hickman, and, more to the point, had worked with Davies previously on Springhill and had scads of television credits to his name. But for whatever reason he wasn’t. He’s said in interviews that this saddened him, and that he took on writing Only Human for the New Series Adventures line in part to show that he should have been asked to contribute.

The first thing we should say, then, is that it worked. Roberts wrote a raft of auxiliary material for the second season, including the interactive Attack of the Graske and the prequel TARDISodes, before managing the feat of getting tapped for a script in five consecutive production years of Doctor Who – a streak only equalled (not surpassed) by Russell T Davies himself. If Only Human was his audition piece, it was massively, phenomenally successful.

The second thing we should say is that this is tragically unusual. Gareth Roberts is the only person to have written for both the New Series Adventures line and the television series. This fact means that the New Series Adventures are not able to function in one of the most obvious ways that they could function, which is as a sort of minor league where new talent can be cultivated. We talked with The Monsters Inside about the relative purposelessness of this line, and how it existed seemingly without an audience, for the relatively cynical reason of selling stuff to young Doctor Who fans, or, more accurately, their parents.

One thing that could alleviate that – and not just in the sense of “giving the line a non-cynical reason to exist” but in the sense of making it a line that people write non-cynically for – would be if it were meaningfully possible to go from writing for it to writing for the television series.…

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