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TARDIS Eruditorum

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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A Good Dalek (Asylum of the Daleks)

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In this scene, Clara is cleverly disguised as Oswin Oswald.
If you missed it, the latest volume of TARDIS Eruditorum is out. Print availability glitched yesterday, but it’s now fixed and available for ordering. My apologies for the screwup.
It’s October 14th, 2014, and this goes up in eleven hours. It’s a bit of a late start. My fault. People were wrong on the Internet.
If you’re reading this in the blog version, this is the first regular-season Moffat story to be placed in the proper order since The Beast Below, a tactic that has had the effect of jumbling the narrative of his stewardship of the program, slightly obscuring the business of actually making history out of it. If you’re reading this in the book version, this sentence will have a better ending reflecting whatever my final decision is on how to do the River entries there. (I’m kind of unhappy with the idea of the Tennant book not having Silence in the Library/Forest of the Dead and with the Smith book lacking Name of the Doctor. And if the conceit of the entries works out, ultimately reading the River Song entries in their correct places ought to work just as well as scrambling them.) 
It’s not the best time to be writing this, honestly – a statement with sly double meaning given that the real deadline is three hours, as that’s when Jill comes home from work and we need to head to bed, because it’s another 5am wakeup tomorrow. God help me, I’m on days. But what I mean is on October 14th, 2014, with what are probably just four more episodes of Clara’s story to air. Here I have to tackle the first part, and there’s an impossibly large amount of potential foreshadowing that might be worth highlighting. To pick just one possible example – something that could turn out to be a meaningless blip, or could turn out to be a major thematic point: Clara quite literally makes a good Dalek. Who knows what else there is. 
This is a characteristic of Moffat’s plotting, and is worth unpacking. There’s a popular theory within media criticism that says that, when plotting an extended storyline in a serialized medium, you should know where you’re going when you start. This, after all, helps with that whole Aristotelean unity thing. If you know the ending, you can set it up at the beginning. Many people – Alan Moore still visibly holds a grudge over this – say that’s what was wrong with Lost all along: that they were making it up as they go along. And yet there’s clearly an extent to which this is not true. I’ve been leafing through The From Hell Companion lately, and it’s full of amusing anecdotes highlighting the ways in which From Hell did and didn’t unfold according to a set design, and how Moore’s conception of it changed based on what Campbell did with the art. Yes, there are many ways in which the broad strokes were in place from the start, and even many specific details, but there was also lots that changed along the way.
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You Were Expecting Someone Else 33 (Assimilation²)

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Josh Marsfelder of Vaka Rangi, a critical history of Star Trek (he’s just started The Next Generation) and related topics (including an essay on Doctor Who), writes on the Star Trek/Doctor Who crossover comic by IDW. Also, speaking of comics, no reviews this week I’m afraid – won’t be around to pick up my books due to those Cleveland talks. 

Let me preface this by saying I am not a comics person. My first, and only, sojourn into the world of mainline United States sequential art was around the time there were several different Spider-Mans running around Marvel while at DC Supergirl was some kind of pink alien goo matrix or something. I took one look at that, promptly decided comics were fucked up and never looked back. I am, however, apparently something of an authority on Star Trek, which is why Phil has so graciously invited me to say a few words about the first, and to date only, time that other big polyauthored science fiction TV franchise crossed over with Doctor Who.
The one exception I made to my self-imposed rule of avoiding US comics at all costs came anytime there was a four-colour adaptation of Star Trek: The Next Generation and Star Trek: Deep Space Nine during the late 80s and early 90s, during the tail-end of the period I’ve come to call the Long 1980s. Back then, you couldn’t just queue up Netflix or Hulu (or other places) to rewatch your favourite show-You had to wait for it to be re-aired, which was if not rare, at the very least unpredictable, or wait for it to come out on VHS, which took a long time. And,  at least if you were someone like me, collecting TV shows on VHS was simply out of the question: Not only was it expensive (I’ve never been a terribly wealthy person), but it took forever for home video releases to come out, and it was hard to keep enthusiasm going that long. If I wanted new adventures with my favourite Star Trek heroes, I was limited to my imagination (which I daresay I’ve been blessed enough to have in abundance), or to the tie-in comic lines from DC and Malibu. Indeed, especially in the case of Star Trek: Deep Space Nine, much of my memories of and perspective on the show came not from the TV episodes themselves, but the comics. 
It didn’t hurt that this was something of a golden age for tie-in comics: Most of them were written by talented authors and artists who also happened to have a deep appreciation for the source material they were tasked with adapting. Indeed, Ron Moore said a number of times that he was a big fan of Michael Jan Friedman and Pablo Marcos’ run on the DC Star Trek: The Next Generation book, because it was the only way he could actually experience new stories with a cast of characters he’d come to love as a member of the audience.
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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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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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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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I Owe it To My Friend To Try, Because I Got Her Into This (The Doctor, The Widow, and the Wardrobe)

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In this image, Clara is cleverly disguised as a cardboard box.
It’s December 25th, 2011. A group assembled under the name “Military Wives” are at number one with “Wherever You Are,” which is more or less the song you’d expect, with Coldplay, Flo Rida, and Little Mix also charting. In news, since The Sarah Jane Adventures took its bow Muammar Gaddaffi was killed in Libya, the Curiosity rover was launched by NASA, and the global population hit seven billion. 
While on television is The Doctor, The Widow, and the Wardrobe, which is, apparently, the worst thing Moffat has ever done, the second-worst story of the Moffat era, the third-worst of the new series as a whole, and the thirteenth-worst story of all time, coming in just ahead of Paradise Towers and just behind The King’s Demons, but notably beaten by Warriors of the Deep, The Time Monster, and The Horns of Nimon. Or at least, that’s the word from the Doctor Who Magazine 50th Anniversary survey, which also thinks that Day of the Doctor is the best story ever and that Frontios is inferior to The Android Invasion, and that The Celestial Toymaker is superior to stories that aren’t The Twin Dilemma, so is perhaps… inclined towards error. 
But this gets at an issue worth exploring at least a little, which is that there are two mutually contradictory narratives of the Moffat era. In one, the initial promise of the great writer of Blink and The Empty Child/The Doctor Dances was steadily squandered on a stream of mediocrity and repetition that has steadily driven people away from the show. In the other, the show remains stubbornly popular without any real evidence of people being driven away, especially when you consider that a statistically significant number of people have migrated to watching on iPlayer, which still isn’t counted in ratings figures. That one of these is based on personal preference while the other is based on the actual metric of success in the television industry is, of course, basically irrelevant. These are, it seems, the two options.
Still, it’s worth entertaining the myriad of criticisms frequently made of The Doctor, The Widow, and the Wardrobe, if only to see if any of them have any substance to them. Let’s start with the most idiosyncratic, if only because they are the ones it is possible to mount the biggest case against the story over. For instance, the observation that the “women are strong because they can be mothers” twist is transphobic. Which… well, it’s not. It’s cisnormative, certainly, but just as heteronormative and homophobic are not actually synonyms, neither are cisnormative and transphobic, and while I am well aware that, as a cis person, I don’t get a vote in this, I would nevertheless, in a purely advisory capacity, strongly suggest that the trans activist community start realizing that a more nuanced vocabulary for discussing trans oppression might be useful.
Which is to say that while it’s certainly the case that there are many ways the story could have been more trans-inclusive, this is an accurate but fairly minor complaint, not least because any way to make the story more trans-inclusive would have involved being a very different story.
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Pop Between Realities, Home in Time for Tea 82 (The Fades)

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After the Moffat/Willis/Wenger team broke up, Moffat was paired with Caroline Skinner as his new co-executive producer. As we’ve already discussed, this was seemingly not a creative partnership that ended happily. Nevertheless, Caroline Skinner occupied a position on Doctor Who that was nominally as Moffat’s equal opposite number, and though her tenure is brief, it must surely be considered as important as, say, the departure of a script editor or a producer during the classic series. To wit, Caroline Skinner was, upon taking the Doctor Who job, most recently coming off of a BBC Three series called The Fades. This, then, provides us with one of our occasional opportunities to see what the BBC thinks Doctor Who’s nearest equivalent shows are. This is, apparently, how you get the top job at Doctor Who: make The Fades first.

In their defense, it was a well regarded show. It got lovely reviews, and a BAFTA. It has a fine pedigree, and there are no reasonable grounds to complain about Caroline Skinner’s appointment based on it. There’s a few very reviewish paragraphs following this one, and they’re going to point out strengths and weaknesses, and it’s worth noting that all of the strengths are things that would have been in Caroline Skinner’s remit as producer, and all of the weaknesses can be laid at the feet of the writer, Jack Thorne. In other words, appointing her was a smart move – they got the producer of what was, in hindsight, apparently the country’s single best drama in 2011. 
No, neither the BBC nor Caroline Skinner can really come in for any criticism here. What can come in for some real criticism is, apparently, British drama in the year 2011, because The Fades is a bit shit. It’s a frightfully generic show. It’s clearly BBC Three trying to get another Being Human together. It’s a generic British horror show for teens and twenty-somethings made in 2011. It’s very post-Skins, and the writer worked on that show, but it’s just as much post-Buffy and post-Being Human and post-Supernatural (nope, not doing a Pop Between Realities on it) and, for that matter, post-Marvelman, about which you can at least say it has the decency to namecheck Alan Moore in the second episode. But the point stands – this is the same basic stunt with genre fiction that’s been going around since the 1980s. Whatever its merits, at the end of the day, The Fades is a TV show that can accurately be described as children’s telly tarted up with some Natalie Dormer nude scenes, and really, that’s a tough criticism to recover from.
On top of that, there are some infuriating things about the writing. It takes three female leads to have one who comes off as a remotely nuanced or interesting character, and one suspects that’s mostly down to Natalie Dormer, who’s one of those actresses that instantly elevates anything she’s in. But it’s perhaps more damning and accurate to note that neither Lily Loveless nor Sophie Wu, who are also both quite capable actresses, can rescue their characters.
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You Were Expecting Someone Else 32 (Night and the Doctor)

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When the DVD set of Season Six came out, one of the biggest special features was a cycle of five shorts collectively titled Night and the Doctor. They total about sixteen minutes in length, and consist of two pairs of two shorts, one called “Good Night” and “Bad Night” focusing on Amy having insomnia on the TARDIS and catching glimpses of the Doctor’s extra adventures, the other called “First Night” and “Last Night” that are an explicit two-parter about the Doctor and River’s first date, alongside a fifth short, “Up All Night,” featuring Craig and Sophie in the immediate lead-up to Closing Time, and which feels not entirely unlike an unused prequel that was grafted onto the other four episodes somewhat arbitrarily.
These shorts fit into a larger tradition within the Moffat era that began with two special features on the Season Five box set, a pair of scenes entitled “Meanwhile in the TARDIS” and paired with early episodes. Both basically involve going through a bunch of standard premises of Doctor Who (“why did you make your time machine look like a Police Box” and “have there been other companions” and the like) as comic sketches. And it continued on the Season Seven set, with a trio of mini episodes there. At which point we should probably talk about the prequels to Name of the Doctor, The Bells of St. Johns, the couple of prequels to The Snowmen, A Town Called Mercy, Asylum of the Daleks, The Wedding of River Song, Let’s Kill Hitler, A Good Man Goes to War, The Curse of the Black Spot, and The Impossible Astronaut. And, of course, the two Day of the Doctor prequels, “The Last Day” and “Night of the Doctor.” And the “Time” and “Space” shorts for Red Nose Day. And Pond Life. So all told, there are something like thirty shorts set within the Eleventh Doctor era, comparing to, I believe, three plus Attack of the Graske for the entire Davies era. And one of those was by Moffat too.
Clearly the short is a thing within the Moffat era. This is not entirely surprising. Setting aside the prequels, which tend to serve as just a different sort of trailer, the bulk of the DVD-based shorts are comedies. Within Night and the Doctor, for instance, there’s “Bad Night,” which is an extended farce built around a plot in which aliens have apparently turned the Queen of England into a goldfish, in which all we get is a brief scene between Amy and the Doctor (and Rory, very briefly) in the middle of the adventure. “Good Night” is a sweet little thing about Amy’s changing memories that ends with Amy buying her past self an ice cream cone to cheer herself up on a bad day. 
This is, of course, a familiar structure for Moffat, who got his start in sitcoms. He’s good at structuring a sketch, knowing how to get in and out before a gag runs dry.
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