Eruditorum Press

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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:

Sheer Poetry (The Brain of Morbius)

33

Marco… 

It’s January 3, 1976. Despite the fact that we have jumped three weeks into the future, Queen remain undisturbed at #1. It doesn’t move from number one during the next four weeks. Also charting are David Bowie, ABBA, Michael Oldfield, Barry White, and Greg Lake, the latter with “I Believe in Father Christmas,” which I would like to point out is easily one of the five best Christmas songs written by popular musicians in the latter half of the 20th century. Seriously not a bad four weeks for music there.

During the few weeks in which Steven Moffat’s Philip Hinchcliffe’s bold new idea of a midseason break for Doctor Who have played out, also known as Christmas, Carlos the Jackal and others kidnapped delegates at an OPEC meeting in Vienna, and a bomb at LaGuardia Airport in New York kills eleven and does not lead to a decade of pointless war for the United States. While during this story’s transmission, the trial of members of the Red Army Faction begins in Germany, the first commercial Concorde flight takes off, and the Scottish Labour Party is formed.

While on television, we get a classic. I mean, a bona fide, proper one – another one of the stories that people rave about as one of the best Doctor Who stories. The Hinchcliffe era has a lot of these. But here, I’ve got to admit, I was definitely under the spell. I had the irritating cut down hourlong version of this that came out on VHS, and on the one hand could tell it was great, but on the other could tell that something was missing. And I remember being absolutely thrilled when the full version came out, and devouring it. I must have watched this one a good half dozen times over the course of two years between the two edits. This would have been… ooh, 1993-94. So this is another one that’s a tentpole of both Doctor Who and my childhood.

In many ways, this story is where the Hinchcliffe era to date comes together – in a story with as much density and power as Genesis of the Daleks, only better written and not reliant on nostalgia for its evocative power. It is another story that raises the bar for what the show is capable of. It is utterly and completely fantastic. So let’s just talk about why. And then maybe towards the end we’ll try something ambitious like declaring what the entire point of Doctor Who is.

First of all, there is the writing. This story benefits from extraordinary fortune in the scriptwriting stage. Terrance Dicks pitched a script based on the idea of doing a reverse Frankenstein story in which the scientist was a hideous monster who creates a perfectly normal-looking human. Then, after delivering the scripts, he went on vacation. Looking at them, Robert Holmes observed the same problem any script editor worth his salt (Dicks, no doubt, included) would have noticed: a story in which the impressive monster appears at the start and the big reveal is an ordinary person has some serious structure problems.

…

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Pop Between Realities, Home in Time For Tea 18 (Space: 1999, I Clavdivs)

, 23

Yes, I really am tackling Space: 1999 and I, Claudius (or, as I insist on referring to it for no other reason than “it makes me happy,” I Clavdivs.) in one entry. It even makes sense to do so. Because one thing that we’re going to have to deal with over the remainder of the series is the fact that the nature of television is shifting rapidly. And the beginnings of that shift are starting to happen around what we’re watching now. One of the easiest lenses to look at that through, at least for our purposes, is the way in which British television is made for the export market. In other words, shows designed to make money by being sold to other countries.

The BBC, of course, had done this to some extent for years. In terms of Doctor Who, this has been tracked extensively by the folks at BroaDWcast. But notably, these sales were mostly to Commonwealth countries, with Hartnell and Troughton stories often airing well into the 1970s. Despite Innes Lloyd eying the possibility in the 1960s (hence the conscious reintroduction to the premise of the show at the start of Tomb of the Cybermen), no successful effort to show Doctor Who in the US happens until 1972, when Time Life, who bought the distribution rights, sells a package of Pertwee episodes to a PBS station in Philadelphia. (In a moment of explaining things to a different side of the Atlantic than usual, PBS is basically what the BBC would be if Rupert Murdoch got his way – an underfunded and stitched together coalition of local stations with an extreme lack of money for producing new content outside the children’s market. They market to the sorts of people who in the UK watch a lot of BBC4 and read The Guardian. But more on them in a few paragraphs.) But it’s not really until the late 70s/early 80s when Doctor Who manages to take off in a meaningful sense in the US, so we’ll mostly drop that strand until… oh, The Five Doctors sounds like a pretty good place to pick it up next, no?

The logic behind this is fairly straightforward: there are a whole lot of English speakers in the US, so it’s a really obvious market to sell in. But right around now there’s an odd transition going on in the nature of what a typical UK to US export looks like. In the 1960s, had we done a piece on exports, we’d have talked mostly about ITC – Lew Grade’s production company that made, of the things we’ve talked about so far, The Prisoner. In the UK, Grade’s shows went to ITV, whereas in the US they usually ended up in CBS.

Several things characterize the ITC approach. First of all, they were generally budgeted with the export market in mind. This gave them the budgets to do glitzy action set pieces that BBC productions couldn’t touch. Second, they were generally put together so that episode order didn’t matter that much.…

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A Bit Dodgy, This Process (The Android Invasion)

30

Frankly, this image is just here so that my heart doesn’t
sink whenever I scroll past this entry and remember the
story.

It’s November 22, 1975. Billy Connoly is at number one with “DIVORCE,” a novelty parody about dogs and, well, divorce. The remaining three weeks of this story, on the other hand, belong to “Bohemian Rhapsody,” one of the most epically successful singles ever. It is worth pausing and discussing what “Bohemian Rhapsody” does that is so significant. First, it’s a high profile case of a band performing a successful end-run around their label. EMI had no faith in the single for its length and lack of traditional song structure, and it was instead deliberately leaked via DJs. Second, it’s aggressively not poppy. It’s telling that there’s a lengthy period here where the number one song goes from a six year old piece of protoglam to a novelty record to this that provides a useful context for why postmodernist horror was proving to be adequate teatime entertainment. Third, it marks some of the initial stirrings of New Romanticism, which will eventually be one of the dominant aesthetics of the series. Also charting are Bowie, The Bay City Rollers, Rod Stewart, and Steeleye Span. 

Whereas in real news, there are no major English serial killings with which I can make a point about media sensationalism that somehow gets misread as a swipe at the people of Yorkshire. But there are Juan Carlos formally becoming King of Spain with the death of Franco, the official outlawing of the IRA, and the Rocky Horror Picture Show being released. New York City received a massive bailout to handle its massive cash-flow problems.

While on television, we run into one of the fundamental weaknesses of the Hinchcliffe era, especially compared to the Letts era. I’ve discussed the idea that there are two approaches to take when trying to improve a television show: increasing quality and reducing badness. This may sound like an obvious point, but it’s significant, in part because it gets to the heart of an art/entertainment debate. Barry Letts improved Doctor Who by targeting weak episodes and trying to eliminate them. Hinchcliffe did it by targeting strong episodes and trying to make them masterpieces. And just as the Letts era was never so frustrating as in its Sloman/Letts Curate’s Egg scripts that could have been great and weren’t, the Hinchcliffe era is never more frustrating than it is when it’s obvious that Hinchcliffe and Holmes have decided that this just isn’t one of the stories they’re going to put much effort into.

So, for instance, when they decide to just hire a writer with a massive list of television credits and pair him with the previous producer as director, it’s pretty clear that the plan here is that they’re going to go pay attention to other stories and let this story play out however it plays out. And it plays out terribly. It’s boring, unambitious, and terribly plotted. It brings back UNIT characters for another round without having anything resembling a reason for them.

…

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I Don’t Exist in Your World (Pyramids of Mars)

49

No! Not the Mind Nightlight!

It’s October 25, 1975. So… next Tuesday, basically. Art Garfunkel, who only has eyes for you, is at number one. It lasts for two weeks at number one, and is improbably overtaken by David Bowie’s “Space Oddity,” rereleased six years after its original release and providing Bowie with his first number one single in the UK. “Space Oddity” plays out the story. ABBA, The Four Seasons, Roxy Music, and John Lennon also chart, the latter with “Imagine.”

In real news, Peter Sutcliffe, the so-called Yorkshire Ripper, commits his first murder, killing Wilma McCann in Leeds. It is worth pausing here and commenting on the fundamental absurdity of the phrase “Yorkshire Ripper,” combining as it does the macabre celebrity killer glory of Jack the Ripper with Yorkshire, a thoroughly working class region generally lacking in glitz and generally associated with the imagery of its mining regions, or with a more idyllic, pastoral imagery of agriculture, or, more broadly, with a wide variety of non-London cultural touchstones. Yorkshire, in other words, is conceptually miles from the seedy glamor of Whitechapel and Jack the Ripper. “Yorkshire Ripper” is, in other words, a phrase that trades on the shocking contrast between the images evoked by each of its words. This is not to detract from the utter horror of Sutcliffe’s crimes – he’s one of the most brutal serial killers around – but rather to remark upon the sheer and callous skill with which he was transmuted into a media event, complete with a catchily incongruous brand-name that could be splashed across the red tops. (Just as a note for anyone who wades through the comment section, this paragraph has seen a good three revisions due to infelicities of phrasing)

Franco steps down in Spain, beginning to bring that dictatorship to an end shockingly long after everyone assumes a country like Spain was democratic. (By “everyone” I mean “Americans” here and not “people who read this blog.”) The first petroleum pipeline opens in Scotland, the Green March takes place in Morocco – a mass coordinated demonstration to try to take over Western Sahara, and, for fans of truly great bad music, it’s the wreck of the Edmund Fitzgerald. (For proper effect, read that sentence with a Gordon Lightfoot-esque inflection so that “rald” is said about twice as loud and a solid octave higher than the prior syllable)

While on television, we have a story that is, from a critical perspective, somewhat weirder than normal. Two of the sort of standard issue angles to take on Doctor Who stories are, roughly speaking, “it’s got some problems but it does some really extraordinary things” and “it’s terribly unambitious, but executes a standard type of story very well.”It seems like these two things should be exact opposites, but somewhat incredibly, Pyramids of Mars manages to be a story that simultaneously does both.

In one very real sense, this is where the Hinchcliffe era comes together. It is not the best story to date, although it is very, very good.…

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Civilizations of Pure Thought (Planet of Evil)

10

RARRRRR! I’m EEEEEVIL!

It’s September 27, 1975. Rod Stewart sails on at number one. He sinks, and David Essex arrives to demand, “Hold Me Close.” Pop music may be a fickle mistress, but the people of the United Kingdom obey and keep him at number one for the next three weeks. Art Garfunkel, Showaddywaddy, Leo Sayer, The Four Seasons, and ABBA all also chart.

In real news, The Spaghetti House siege, in which Marxist black nationalists hold up an Italian restaurant and end up staying for six days, takes place in London, an event that is mostly just a sensationalist news story to fill the space between episode one and two of Planet of Evil, but at least has an entertaining name and no fatalities. The Thrilla in Manilla happens, as does a bombing outside Green Park Tube Station, and the first episode of Saturday Night Live.

On television, for the first time since The Faceless Ones, the Doctor Who we’re talking about is actually intersecting with the point in the calendar I’m writing from. With The Faceless Ones, that was dead on – the final episode of that story aired on May 13th, which is also the day that entry posted on. Here it’s off by a day – the final episode aired on October 18th. Personally, since this is the last entry written in a six day stretch starting with The Sontaran Experiment, I’m writing from an unseasonably warm Sunday, October 9, 2011 in suburban Connecticut, having watched the final two episodes of this last night.

In the Pertwee era, Doctor Who intruded into its audience’s lives by using the familiar as its setting – unfolding dramas in real places, and creating allegories for current events. But the central turn of the Hinchcliffe era, as we’ve said, is that the Doctor fights ideas now. To use a word rendered meaningless by vague use in something approaching its literal sense, Doctor Who has taken a very cerebral turn. It’s not telling stories about the world around the viewer anymore. Instead it’s telling stories about the world inside the viewer.

And so instead of allegories and allusions to the real world, it embeds itself in the viewer’s world according to an altogether subtler logic. The move to an autumn/winter schedule for Doctor Who moves it into darker and colder evenings. Planet of Evil went out just as the sun was setting in most of England, and later in the season stories will start going out firmly after dark. But the change involved here is about far more than light levels.

Living in New England, the last week or two has been marked by that sensation  of cold the moment you set outside. Not the frigid and despairing cold of winter, although that is worth discussing in its own right, but an altogether more pleasant cold. It is a cold that causes the body to draw inward, to huddle inside of itself slightly. One becomes more aware of one’s self, of the crunching of leaves underfoot and the swirl of scents and spices that seem to waft continuously through the air.…

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Forms Into Other Patterns (Terror of the Zygons)

9

So complete is Terror of the Zygons’s appropriation of
the Pertwee era that it even includes a dodgy giant lizard
in honor of Malcolm Hulke.

It’s August 30, 1975. The Stylistics are at number one with “Can’t Give You Anything (But My Love),” one of the many Philadelphia soul songs to chart in the UK and not the US. They are unseated by Rod Stewart with “Sailing,” which is not the more famous bad Christopher Cross song, but really, it’s not like that justifies anything. It still lasts the remaining three weeks of this story. KC and the Sunshine Band, Gladys Knight and the Pips, Roger Whittaker, and Mike Batt with New Edition all also chart.

In the only two months since Doctor Who was last on our screens, there’s been a bit of a kerfuffle between the US and the Khmer Rouge in Cambodia, the deadliest motorway accident in UK history, a referendum resulting in the UK staying in the European Community, and the release of the Rockefeller Commission’s report that concluded and made public at least some of just how evil the CIA had been being lately. This was the first of three major studies into the CIA in about a two year period that began to scratch the surface of how upsettingly bad things were with the CIA. Most of these revelations were strenuously opposed by officials in the Ford administration, most notably some guy named Donald Rumsfeld, whose political career was surely brought to an end by such a brazen attempt to cover up staggering abuses of power. There’s also the Pine Ridge Indian Reservation shoot-out, the disappearance of Jimmy Hoffa, and the sentencing of the Birmingham Six.
While during this story’s transmission, the IRA bombs the London Hilton, Rembrandt’s Night Watch is slashed up by a vandal, and, though the second attempt happens two days after this story’s finale, the two and a half weeks in which everybody tries to kill Gerald Ford take place.
It has, you may notice, been a short break since Revenge of the Cybermen. This is where Doctor Who moves to the third of its five major transmission schedules. Originally the show ran basically from the end of summer to the beginning of summer, occupying 40 weeks of the schedule. Then, when the episode count got cut to 26 with the switch to color, it became a roughly Christmas to summer run. Now, in order to deal with what everyone at the BBC is assuming is going to be the juggernaut of Gerry Anderson’s Space: 1999, Doctor Who is moving to a Fall through Spring run with a break for Christmas – a run, I should note, that is widely tipped as what Moffat’s era is going to switch over to starting in 2012.
But since this was a move done to compete with an ITV show, this move is the only time Doctor Who has jumped around the calendar by shortening the gap between seasons instead of by lengthening it.
…

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Pop Between Realities, Home In Time For Tea 17 (Survivors)

, 23

In one corner, we have Doctor Who running, with considerable vigor, away from the legacy of the Pertwee era. Not just in the sense of moving into a postmodern aesthetic instead of a glam one, or in the sense of its massive and definitive breaks with its history. But in a broader sense, the transition we’re following is in part a turn away from the materialism of the Pertwee era. The series is turning from the immediate concerns of the world back towards a realm of ideas and stories. The first great era of social realism in Doctor Who, which began to spark roughly with The Macra Terror, here is flickering to a close, and we’re still more than a decade out from its next real rise.

With Survivors, then, Terry Nation walks pointedly in the other direction: a science fiction series that is based almost entirely on social realism. A series that is 100%, unabashedly about the ethical issues seemingly raised in The War Games, and for that matter about the ones raised by The Daleks, in which the Doctor pointedly declines to stick around for the business of rebuilding. This is the polar opposite – a series in which rebuilding is the entire focus.

It is, of course, a disaster. It’s tough to call this a surprise. I mean, looking at Terry Nation’s Doctor Who scripts, cutting social realism is not what you’d call his wheelhouse. He’s king of the tedious moralizers. Genesis of the Daleks is a great script, yes, but that’s because he successfully uses the twin mythic giants of the Daleks and Nazi Germany to cover up the fact that Kaled society is astonishingly lazily designed and that the centuries-long war on Skaro is between two domed cities within walking distance of one another that have hilariously lax security. Yes, it’s very good, but the thing that is good about it is very obviously not that it depicts a remotely sane or realistic view of society.

And now he’s tackling a series where the entire idea is probing and realistic views of society. I mean, the premise here is straightforward: an overwhelming majority of the world’s population drops dead of a pandemic, and the survivors have to try to preserve human society. It is, in other words, a sort of prototypical Deadwood – a story about how civilization establishes itself and deals with its most basic problems like providing food or security. In other words, a story that demands the exact opposite of what Nation has proven himself good at.

In light of this, it’s actually surprising how good the show is. Or, at least, it could be taken as surprising. Actually, for all Nation’s inadequacies in portraying civilization, there are things Nation is good at that turn out to be very useful here. Most obviously, Nation has always been one of the best Doctor Who writers at the job of crafting situations of physical and material danger. To my surprise when reading About Time, apparently the scene at the start of Genesis of the Daleks in which the Doctor steps on a landmine is widely hated.…

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Tiny Metal Minds (Revenge of the Cybermen)

20

Some monsters appear and give an immediate sense of
terror and awe. Other monsters appear and make you go
“Oh. It’s them.”

It’s April 19, 1975. The Bay City Rollers are at number one with “Bye Bye Baby,” which lasts for two weeks before Mud overtake them with “Oh Boy,” an a cappella cover of an old Buddy Holly song, which also lasts for two weeks. Peter Shelley, The Goodies, 10cc, and, in the highest concentration of Tammy’s ever seen in the top ten, Tammy Wynette and Tammy Jones all chart as well.

While in real news, the Red Army Faction takes over the West German embassy in Stockholm, then promptly inadvertently blow themselves up, leading to West Germany changing to a “we don’t negotiate with terrorists” policy. That’s about all that happens in these four weeks. Well, that and the Vietnam War ending. But that’s nothing, right?

While on television, we have Revenge of the Cybermen. On the surface, this is straightforward – a story commissioned under Letts and made under Hinchcliffe, written by Gerry Davis, a writer who was frankly rubbish even in his prime, and thus desperately rewritten by Robert Holmes in a not-entirely-successful effort to salvage it, it’s a lackluster story of the sort new production teams do in their first year. And that’s not a completely unfair reading of it. But for once, it’s instructive just how this story gets snared between the Letts and Hinchcliffe approaches, and in particular how it follows (and fails to follow) from the doors blasted open by Genesis of the Daleks.

Letts, for his part, had been trying to bring the Cybermen back for a while. This is not surprising – one of the ways in which Letts dramatically evolved the show was in how actively and savvily it manipulated and engaged with audiences and audience expectations. Occasionally this backfired, as with the dropping of the dinosaurs from the episode title for the first part of Invasion of the Dinosaurs, or the shoehorned Daleks in Day of the Daleks, but more often it led to tour de forces like the reveal of the Daleks in Frontier in Space. So of course he would have gone for bringing back the “other classic monster.” And Letts was savvy enough to have a good angle on how to do it as well – hire back one of the writers who had done that monster last who was also still a respectable television man (Davis was only three years out from Doomwatch here) to do it so that it feels nice and nostalgic.

But neither Hinchcliffe nor Holmes are particularly enamored with nostalgia and classic monsters. In fact, after this and the next story, they basically don’t use nostalgia as a major story appeal again until The Deadly Assassin, and there it’s one of the most stark breaks with the past of the relevant concept imaginable. So it’s not quite a surprise that the Hinchcliffe era balks at doing a straight nostalgia piece. But…

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The Face of the Devil Himself (Genesis of the Daleks)

28

In one of the least shocking twists in Doctor Who history,
the guy in white is A) the first Kaled we meet not to wear
black, and B) the first one to turn out to be a good guy.

It’s March 8th, 1975. Telly Savalas is at number one with “If,” which, in layman’s terms, means that the star of Kojak is at number one with a spoken word cover of a Bread song from 1971. This lasts for two weeks before the Bay City Rollers clean things up with “Bye Bye Baby,” holding #1 for the other four weeks of this story. Mud, Johnny Mathis, Barry White, Guys ‘n’ Dolls, and The Sweet also chart.


In real news, the UN proclaims International Women’s Day, the Rocky Horror Picture Show debuts on Broadway, Bobby Fischer concedes his world chess championship title to Anatoly Karpov by refusing to play against him, and Bill Gates founds Microsoft. In bigger events, the Vietnam War moves towards its conclusion as North Vietnamese troops close on Saigon. Operation Babylift, an attempt to evacuate children from Vietnam, gets off to a terrible start as the first plane crashes, killing 138. Rio Di Janeiro becomes the capital of Brazil after the state of Rio Di Janeiro merges with Estado de Guanabara. And the body of Lesley Whittle, the teenage heiress kidnapped back during Robot, is found. 

While on television… I mean, what is there to say. It’s Genesis of the Daleks. The latter three words of which are wholly unimportant. There are a handful of stories in Doctor Who history that can be shortened to one word titles where the title is not the monster. But if you talk to a Doctor Who fan about Genesis, they know what you’re talking about, and it’s not Peter Gabriel’s old band. This story is flat-out one of the most iconic stories of Doctor Who. Given that our approach to the series is tinged with the alchemical, and that we do take an actively mystical view of the series at times, we must tread with some care here. This is, if you will, a piece of sacred ground in the psychochronography of this territory.

It’s not that the story is without flaw. Under the hood, it’s still very much a Terry Nation story, with all the attendant problems. But for the first time in decades, it’s also a Terry Nation story with all the attendant benefits. His knack for adventure, his ability to keep a plot moving, his ability to create properly scary villains, all of that is firmly in play here. Even the things that can be hit or miss – his tendency towards tedious moralizing – end up working here, albeit as much because the actors are top notch as anything else. On top of that, the director, David Maloney, is absolutely on fire here, using everything he learned about Daleks last time he did them and then building on it. 

And then there’s the aspect of this story in legend.
…

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On Your Television Screen, You Can Do What Seemed Impossible (The Sontaran Experiment)

12

And yet despite this scene, it was the Zygons who were
brought back in a softcore video nasty in the 90s. 

It’s February 22, 1975. Steve Harley and Cockney Rebel are at number one with “Make Me Smile (Come Up and See Me,” and continue to be through to the next week. The Carpenters, Helen Reddy, and Johnny Wakeland and the Kishasa Band also chart.

In the US, Daylight Savings Time kicks off two months early to deal with the energy crisis that has by now wound its way over there. A fleeing IRA member fatally shoots a chasing London police officer, setting off most of what you’d expect. The IRA member, Liam Quinn, went on to a several-decades long career as a cause celebrate. The Movement 2 June, an anarchist group allied with the Baader-Meinhof Gang, kidnaps a West German politician, managing to secure the release of five of their members from prison doing so. A massive tube crash at Moorgate station kills 43 people. And, on the day the second and final episode of this story airs, Aston Villa defeats Norwich City in the Football League Cup, now known as the Carling Cup.

While on television, it’s The Sontaran Experiment – the only two-part Doctor Who story between 1965 and 1982. This alone should raise some red flags from our perspective, in that it clearly does not quite fit with the normal order of things. Doctor Who, in the period we’re talking about, does four and six part stories. This is the only Doctor Who story from 1972-1981 not to be either four or six episodes long.

The previous two two-part stories had relatively straightforward reasons behind them. The Edge of Destruction existed to fill out an initial thirteen-episode order on the cheap. The Rescue existed because it was the first time the show had tried introducing a new character. And given that both were written by the incomparable David Whitaker, both fulfilled a clear narrative function, dealing with character points. The Sontaran Experiment, however, does not have nearly so lofty a set of goals. Its reasons for existing are entirely technical. Its storytelling is minimal, and ill-paced.

Part of this is the writers. Giving this story to Baker and Martin made sense for the reasons it was actually done, but there are major problems with the decision. Baker and Martin are best at coming up with weird ideas, and at their weakest in the specific mechanics and craft of scriptwriting. A two episode story is necessarily one that prioritizes having one or two ideas but being carefully crafted. Instead we get one that seems to have been written as a four-parter with the first episode done straightforwardly and the last three parts condensed into the second episode. All of this seems to have been to maintain the traditional first episode cliffhanger of the monster reveal. And while I am not among the critics who laugh at the basic idea of holding back the monster reveal in a story named after the monster, recognizing as I do that this is based not around surprise but around the anticipation of the spectacle, it’s also very obviously a dumb and pointless move in a two-parter because of what it does to the pacing. As…

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