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TARDIS Eruditorum

All The Years I’ve Been Taking Care Of You (The Doctor’s Daughter)

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Shooty daughter thing
It’s May 10th, 2008. Madonna and Justin Timberlake are at number one. Pendulum, Flo Rida, and Usher also chart. In news, the Federal Reserve notes that banks are increasing standards on loans as the subprime mortgage crisis gathers steam. Bertie Ahern, Taoiseach of Ireland, resigns after nearly eleven years as head of government, and Dmitry Medvedev becomes President of Russia. Barack Obama thumps Hillary Clinton in the North Carolina Primary, leading Tim Russert to declare that it is clear who is going to win, and turning Clinton’s campaign into a strange sort of zombie, which, to be fair, anyone who was looking at the numbers realized was true months ago. 
Commemorating her stubbornness, Doctor Who airs The Doctor’s Daughter. The definition of insanity, or, at least, the one trotted out for rhetorical purposes, is doing the same thing over and over again and expecting a different result. In Davies’s defense, he does not actually repeat the exact same stretch of episodes four through seven as he did in Season Three; he goes to Gareth Roberts instead of Chris Chibnall. Nevertheless, it’s tough to see why Davies decided to go with a Helen Raynor monster two-parter followed by a Stephen Greenhorn script for the second season in a row. And unsurprisingly, it works about as well as it did the first time, which is to say not really at all. 
The Doctor’s Daughter is interesting in part because it’s the most sci-fi story the new series has done in some time. This is a story that hinges on an entirely sci-fi riddle based purely on the interplay of imaginary concepts. One has to not only follow the good old “science concepts become mythology through generations of oral folklore” premise from stuff like The Face of Evil, one has to get the secondary realization that all of this has happened in a week. These are not hugely difficult and advanced concepts, to be sure – I doubt a significant portion of the audience was confused – but it’s still focused on sci-fi concepts in a way the new series rarely is. Certainly it’s difficult to think of another Davies-era story that works like this.
In many ways it’s a throwback to the classic series, although it’s tough to pin down a specific bit of the series. The aesthetics of the story are all very Saward-era – lots of military people shooting lots of stuff and the Doctor thrown in the middle of it. But under the hood this is the sort of thing you’d find in the Williams era – a morality play framed around the interplay of sci-fi concepts – something like Underworld or The Pirate Planet. In terms of those concepts, it feels most like Christopher Bidmead, albeit not in his “let’s play with mathematics” phase of Logopolis and Castrovalva, but rather in terms of the stuff he oversaw like Full Circle, or his later Frontios. But even this is part of an older tradition going back to stuff like The Web Planet and The Space Museum where the story is structured around answering the question “what are the rules of this world?”
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The Mighty Warrior Sheltering Behind His Gun (The Sontaran Stratagem/The Poison Sky)

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How are you holding up? Because I’m a potato.
And one more time in case you missed it, the first Tom baker volume of TARDIS Eruditorum is now out. It’s nice, rectangular, and easy to wrap.
It’s April 26th, 2008. Madonna and Justin Timberlake are at number one with “4 Minutes,” which exceeds its titular expectations by some margin and stays at number one for both weeks of this story. Mariah Carey, September, Usher, Wiley, and Sam Sparro also chart. In news, a bit of a spat breaks out between Jimmy Carter and the Bush administration over whether anyone ever advised him not to meet with Hamas. Wesley Snipes goes to prison for tax evasion, Grand Theft Auto IV comes out, and Boris Johnson unseats Ken Livingstone to become Mayor of London. 
While on television we have The Sontaran Stratagem and The Poison Sky. Perhaps the first question to ask is why this is even a thing. Once the series had brought back the big three villains at the sensible rate of one a year, the issue of returning monsters necessarily became a bit silly. On the one hand, a returning monster is always good for a day or two of press coverage, which is why we have new look Silurians, Ice Warriors, and Zygons now. On the other, after the Master we’re essentially out of villains whose return would play a substantively mythic role within Doctor Who. (There is sort of one exception, but we’ll get to him.) Instead the return of monster become what it was under John Nathan-Turner – an exercise that exists entirely for the purposes of promotion. This is not a bad thing – Doctor Who’s job is to bring ratings, and free publicity of the sort a returning monster gets fuels that. But it means that returning monsters stop being understandable in terms of their legacy. Rise of the Cybermen demanded to be read in light of The Tenth Planet just as Dalek actively invoked The Power of the Daleks and Last of the Time Lord reveled in the icongraphy of the Pertwee era.
But if we try to compare the Sontarans of The Sontaran Stratagem/The Poison Sky with the classic series we find ourselves altogether more frustrated. As Rob Shearman has noted, the Sontarans are not monsters in the generic sense, at least not in The Time Warrior. They’re a single character, Lynx, who’s defined in terms of the Doctor. Even on their return in The Sontaran Experiment, they’re still specifically focused on the individual, with a joke about how they’re a clone species being used to explain why they have the same actor playing a different Sontaran. It’s not until The Invasion of Time that they became monsters in a generic sense, and that was an act of sheer desperation by a production team that was in so far over their heads it wasn’t even funny. And then of course there’s Robert Holmes’s own witheringly pointless revival of them in The Two Doctors, where they finally settled into existing for no reason other than drawing a few headlines.
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Fit to Lead the Life of a Dog (Planet of the Ood)

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If you missed it on Monday, the fourth TARDIS Eruditorum book, covering the first part of Tom Baker’s tenure as the Doctor, is now out. Thank you for supporting the blog.


It doesn’t taste anything like chicken!
It’s April 19th, 2008. Estelle remain at number one, and the only new entry into the charts at all is September with “Cry For You.” Chris Brown, who violently beat his partner, is also still in the charts. In news, Delta and Northwest agree to merge to become the world’s biggest airline, and Silvio Berlusconi starts his third stint as Prime Minister of Italy. 
On television, meanwhile, we have Planet of the Ood. It’s interesting that this is the second consecutive story to have a direct shout-out to the Hartnell era. But where The Fires of Pompeii was just a moment of arch-fannishness (albeit the most rawly fannish in-joke the series had produced to date, serving as it does no narrative function whatsoever), Planet of the Ood’s invocation of The Sensorites is a deliberate reference confirming something Davies had floated on Doctor Who Confidential when the Ood debuted. Davies, in other words, actively wants the Ood to be read in light of an obscure monster from a terribly unloved story in Doctor Who’s first season.
The Sensorites is an odd duck of a story. It suffers even more than most 1960s stories from its languid pacing, and to a modern eye seems terribly cliche. But it is in practice a story that is cliche because of how often it’s been imitated. Indeed, upon reflection it is the story that introduces the idea that the alien can be a sense of wonder instead of terror, as what appear to be terrible monsters at first are steadily revealed to be gentle, kindly, and even timid creatures. (Note how this is paralleled closely with Susan’s awed description of her homeworld – it’s not a side detail, it’s the entire point of The Sensorites)
This is useful background for Planet of the Ood, which begins by pretending to be a story about monsters and ends somewhere almost entirely different. At first we are led to believe that the story is as it was in The Impossible Planet/The Satan Pit – a story about the Ood being taken over to go bad in some fashion. The iconography of the episode encourages this, with the problem afflicting the Ood being that their eyes turn red and they start killing things. Under standard Doctor Who iconography, this means possession, especially given that this is historically what the Ood are for.
So the story appears straightforward. And yet even from the start it’s clear that there’s going to be some sort of comeuppance for the evil corporation. For one thing, there’s an evil corporation, and standard Doctor Who logic draws conclusions from putting an evil corporation in the first act. More broadly, the Ood are a pointedly unanswered question. The Impossible Planet/The Satan Pit raised the possibility that there was more to them than appeared, but also never quite rocked the boat. 
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He Sets Fire To Rome (The Fires of Pompeii)

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“What? No. Don’t cast him. He’d make an awful Doctor. He
looks like a murderous cab driver for God’s sake.”
It’s April 12th, 2008. Estelle is at number one with “American Boy.” Sam Sparro, Kooks, Mariah Carey, Madonna and Justin Timberlake, and Chris Brown (a domestic abuser) also chart. In news, Mark Penn resigns from the Clinton campaign, which is interesting mostly because he resigned for reasons other than gross incompetence. London does (depending on your perspective) a rubbish or great job hosting part of the Olympic torch run, as an anti-China protester manages to briefly snatch the torch. It goes similarly well in Paris, where the torch is actually extinguished by authorities. Then, in San Francisco, the torch and runner briefly disappear entirely before being run along a different route where nobody knows to watch or protest it.
Speaking of fire and the classical world, The Fires of Pompeii. First of all, before we go at all into this story, let’s agree to set aside The Waters of Mars. Everything here is obviously going to come up again in that post. But we did a fine job of shutting up about The Deadly Assassin while we worked our way through earlier versions of Time Lord history, and an equally fine job of ignoring The War Games until the time came, so let’s do the same here and take this story entirely on its own terms. Let’s also note that this was written prior to Day of the Doctor and makes no effort to understand the Time War in the context of that episode.
Similarly, when it comes to Peter Capaldi, let’s note that it’s sad that such a great actor blows his opportunity to be on Doctor Who in what is by and large an underwritten bit part. Given that the new series tends not to recycle actors, it’s borderline tragic that we’re not going to get to see him again after this. Also, one of the actresses playing the Sibylline Sisters is quite good, and wasted in the part. A pity, through and through.
It is no secret that I am not, by and large, a fan of stories that treat the alteration of history as a moral dilemma. I’ve discussed my reasons for this before, but the long and short of it is that it’s an entirely fake moral dilemma. Because altering history is at present completely impossible, there are no principles on which to hang an ethical debate about it. It’s as hollow an ethical debate as whether or not it’s acceptable to use grozzlebarks in order to banderflinch. Which is to say that any supposed ethical principles involved are, in fact, purely the invention of the writer. It’s an ethical debate without substance – one in which the writer picks the outcome they want and then creates some technobabble to explain why that’s the ethical position.
Except it’s worse than that, because the position taken is inevitably that changing history is wrong. And so the only sort of message that one can take away from these stories is that things must remain the way they are, often because of the incomprehensible explanations of the People Who Are In Charge Of These Things.
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Pop Between Realities, Home in Time for Coffee (LOST)

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“Artists should not be trusted. If an artist is not deceitful
every so often in the cause of his art, then he is a poor artist.”
— Chaim Potok, My Name is Asher Lev
LOST was quite possibly one of the biggest shows to hit television in the last decade. More remarkable was the fact that it was ostensibly “cult television” and yet it still hit it big in the mainstream. It was never the highest rated show on television, but it was in the American top-20 for most of its six-year run, it was the most recorded TV show at the time, and it was also an international sensation. It garnered 55 Emmy nominations (the American equivalent of BAFTAs) winning 11; many critics once called one of the greatest shows ever made.
As far as this blog is concerned, we shouldn’t be surprised. Like Doctor Who, LOST provided a means by which disparate genres could be smashed together. Doctor Who has the TARDIS; LOST had The Island. A place for people who were metaphorically lost in their lives, it allowed all kinds of different stories to play out. One week The Fugitive would be running about helping people and all the while trying to evade the law. Next week there might be a medical drama, followed by a comedy, a family drama, a love story, a con game, or a tragedy. This all got mixed in with the adventure of exploring a mysterious Island, populated by ghosts, time travel, an Island god, and a Smoke Monster for good measure. It hit the sweet spot of soap tropes and “genre” mythology.
Today its reputation is far different, and it’s impossible to go back and watch it again without keeping this in mind. The finale (as was the case for most of its final season) was largely panned, and it isn’t unusual to find it on a critic’s “10 worst” list of some sort or another. People expected answers that were never delivered; new but less compelling characters came to the forefront; the show veered into iconography better found in a greeting card penned by Jonathan Livingston Seagull. Which really begs the question: What the hell happened?
~~~ whooosh ~~~
KATE: We have to go back for him.
CHARLIE: Go back? There? Kate, there’s a certain
gargantuan quality about this thing.
(1×01: Pilot, Part 1)
~~~ whooosh ~~~
It’s August 15th, 2005. Oasis is poised to hit number one, with McFly, Babyshambles, Iron Maiden, and British Whale all charting. Americans are killing Iraqis, but Indonesia signs a peace treaty with the Free Aceh Movement, so there’s that. India celebrates its 60th Independence Day. Helios Airways Flight 522 crashes near Athens, killing 121.
While on Netflix, it’s Disc One of Season One of LOST. I inhale it quicker than Bill Clinton can suck down a cigar. Yes, I’m late, almost a year late to the LOST party (it premiered on September 22nd, the Fall Equinox of 2004) but it won’t take me long to go back and get caught up.
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The Size of the Mouth and the Size of the Brain (Partners in Crime)

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DEMIURGE! (This has to be the most obscure caption
I’ve done in ages.)

It’s April 5th, 2008. As you might imagine, very little has changed. We’ve just calmly plowed from the end of Torchwood Season Two into Doctor Who’s fourth season, specifically Partners in Crime.

Partners in Crime stands out as one of the most structural pieces Davies has ever done. Davies, on the commentary track, describes the story as in part a work of petulance on his part. Given that everyone expected he’d do a darker story to help change the perception of Donna from The Runaway Bride, he decided to turn towards comedy more thoroughly than he had in the past. And yet in all of this what jumps out is that Catherine Tate doesn’t do any comedy bits until her “mime at the Doctor” sequence when they finally meet. She’s in a comedy, yes, but she’s playing it straight the entire time.
This, more than anything, constitutes the reinvention of the character. Had Davies taken the obvious route of just throwing Donna into something dark and serious (i.e. either of the next two stories) he would have ended up with a functional character, but at the expense of having any reason to give the role to Catherine Tate. You don’t cast Catherine Tate for the latest iteration of generic companion. So Donna needs to retain the frisson of wrongness that animated The Runaway Bride. There the joke was that David Tennant was stuck with a character off of The Catherine Tate Show, and this was not a narrative he was well-suited to. 
But a comedy sketch character can barely be stretched over an hour (Davies, quite sensibly, gives her an emotional arc so that she grows at the end). To do it over a season would be suicide – a fact so self-evident that even Doctor Who fans realized it and panicked when Tate was announced as the new companion. And so Donna had to be moved away from being a sketch character while still finding a way to retain the fact that she was an unusual choice as a companion.
Hence the structure, where we get an overtly comedic episode in which Catherine Tate gets exactly two comedy bits, only one of which – the one at the very end of the episode – involves her playing a Catherine Tate Show character. This provides a sort of halfway house for Donna as a character – she retains the genre colliding aspects she was first created with, but doesn’t actually have to be that character full-time in the narrative. 
Instead, Donna is built up as a sorrowful character. The key sequence comes when she all but watches a woman die, then goes back to her mother’s where she’s berated and belittled for a scene (done gorgeously in time lapse, with Donna sitting wearily at a table, never moving as the scene cuts forward on her mother’s diatribe), and then goes to talk to her grandfather who is supportive but inescapably sad.
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Guest Post: Moths Ate My Girls Aloud CD

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Abigail Brady will get the sole power to decide if you ever get to see me play Soldeed. She is also responsible for starting the entire Chelsea Manning feud on Wikipedia by moving the article to its correct title. Beyond that, she’s invaluable for checking random facts about London for various projects and is an Iron Man villain. She also happily stepped in for a guest post on short notice. She is, in short, one of the five greatest people never to be Verity Lambert.

Now, I know what you’re thinking: what’s the connection between Phonogram and Moths Ate My Doctor Who Scarf  other than on November 17th, 2013 I went straight from seeing a panel discussion containing the writer of the first to a performance of the second?  After all, one is a comic taking an adult perspective on the someone from the middle of nowhere in the West Midlands’ teenage obsession, whereas the other… is the exact same thing but in plural.

Moths Ate My Doctor Who Scarf is a one-man standup show by Toby Hadoke, C-list Doctor Who celebrity, actor, writer and comic. It debuted at the Edinburgh Fringe in 2006, and did a West End run in 2008.  If you never saw it live, you’re now officially out of luck, as that performance I saw was supposedly the last (I speak as someone who went to two of Pitchshifter’s last tours) – an audio CD version released in 2007 by the BBC is your best bet.  It’s a picture of the role that Doctor Who played in his life from his early childhood up to about 2005.  There’s nothing massively unexpected: he is obsessed with it as a youngun, and eventually starts to lose hope about a return, then the new series is announced, which is  quite good, and he bonds with his son over it.  It’s quite funny: he does angry very well, with a nice sideline in self-mockery.  The performance was double-billed with his new show My Stepson Stole My Sonic Screwdriver, not entirely to the latter’s benefit. The biggest laugh that Sonic Screwdriver got was in the opening, just after a 15-minute interval, when he kept to his usual script and said “you may have seen my other show, Moths Ate My Doctor Who Scarf”…  Well, yes.
Phonogram is a comic, as well, but the other kind.  This one is by Kieron Gillen (writing) and Jamie McKelvie (arting), and was published from 2006 to 2010 by Image Comics. Its topic is neatly summarised by the identity equation that Gillen scrawls when signing copies: “MUSIC = MAGIC”.  It has an almost Mooreish take on matters, with the magic of music simultaneously being wholly metaphoric and completely literal.  Thus far there are thirteen issues over two volumes.  In the first, Rue Britannia, protagonist David Kohl, one of the few practitioners of music-magic (phonomancers) still rooted in the British guitar music scene of the 1990s, is tempted by the goddess Britannia into accepting a revival of Britpop. 
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Pop Between Realities, Home in Time for Tea 72 (Being Human)

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Well, look, the pilot was in 2008. So we’re only a little ahead of ourselves. And it’s worth exploring now simply because Being Human is a show that reveals a lot about what television became in the wake of Doctor Who. Because in many ways Being Human is the first significant post-Doctor Who show. It’s had its imitators, as we saw back when we looked at Primeval and Robin Hood, but those were just that: attempts to discern the underlying formula of Doctor Who and replicate it. With Being Human we have something else – a show that on the one hand clearly exists only because of Doctor Who and on the other is clearly not a Doctor Who clone by any measure.

The premise of the show is simple and cheeky: a vampire (Mitchell), a werewolf (George), and a ghost (Annie) attempt to live together and maintain a semblance of a normal life. They routinely fail spectacularly, getting embroiled in supernatural goings-on – vampires trying to take over the world in the first and third seasons, and human supernatural hunters in the second. It’s good – it started, as mentioned, with a 2008 pilot, and then kicked off properly in 2009 and ran for five seasons. But we’ll cover it here, because it’s not really a show that had an influence on Doctor Who going forward: it’s one that, by its existence, demonstrates the influence Doctor Who was having.

And yet if you are to look for obvious influences on Being Human you’d end up in the 90s looking at the wave of goth-inspired vampire stories in the wake of the Interview with a Vampire movie. The ur-text here is probably White Wolf Entertainment’s World of Darkness line of role-playing games, the flagship of which was Vampire: The Masquerade. This game was an important moment of cultural history in terms of the steady merger of the goth scene and geek culture (see also the Sylvester McCoy era), synthesizing as much classic vampire fiction as possible into a game set in a gothed up and sexy version of the then-present day. Indeed, there are many points where Being Human feels like someone dusting off their old World of Darkness campaign notes and turning them into a television series.

Its self-descriptor – gothic-punk – is an interesting phrase, both because of the strange ahistorical nature of it (goth is, after all, an aesthetic that derived from punk) and because it situated Vampire: The Masquerade in its more relevant tradition, namely the “____punk” tradition kicked off by cyberpunk. That is to say, grim stories with tortured and fairly violent antiheroes wearing mirror shades at night. Matching traditional horror fiction tropes up with it is one of those ideas that’s both reasonably clever and so dead obvious it hurts. And so despite being trapped in one of the grimiest corners of nerd culture, White Wolf ended up accurately calling how vampires were going to work from now on.

(Yes, huge swaths do go back to Anne Rice, but Rice is ultimately writing romantic vampires.…

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Outside the Government: Exit Wounds

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You did notice the giveaway of two free copies of my new book on Flood that I started on Saturday, yes? You should go take guesses and win my books.

It’s April 4th, 2008. My long nightmare of being too lazy to check whether Duffy is a single person or a band is over, as now Estelle is at number one with “American Boy.” Madonna, Sam Sparro, and domestic abuser Chris Brown also chart. In news, the Justice Department approves the merger of the US’s two satellite radio companies, reflecting the steady decline of that spectacularly wrong technological bet. Harriet Harman becomes the first female Labour Party MP to answer at Prime Minister’s Questions. And researchers at Newcastle University create a human-cow embryo that survives for three days.

While on television, back to debuting first on BBC Two we have Exit Wounds, the second season finale of Torchwood, in which a large swath of the original cast is killed off. The story itself is, of course, a hot mess. To suggest that Gray does not quite hold up as a villain is the height of understatement. The structure, as ever, is lovingly ripped off from Joss Whedon, with the “little bad” being supplanted in the end of the narrative by the “big bad.” But there’s a fundamental error here, which is that you cannot supplant James Marsters with Lachlan Nieboer playing a man who has vowed revenge on a seven year old for letting go of his hand. The idea of a figure from Jack’s past coming back to haunt him works, as does the idea of having one who’s a bigger deal than Captain John, but Gray is so transparently created for the purpose of being the shock villain for the season finale that there’s no substance to it. He’s not a part of Jack’s past – he’s a series finale “big bad” who’s been casually grafted into Jack’s past, at a point so early on that it’s not even particularly interesting.

But by now the show seems to be staring into the mirror and realizing that it’s not working. Gray doesn’t work, but the episode seems to know this, recognizing that he’s not the point of the narrative. Jack chloroforms him out of the plot at the 2/3 mark, and he doesn’t even enter it until the 1/3 mark, making him a strictly Act II concern. He’s in the story for all of fifteen minutes. The story is really about… Ah, but here’s the rub. It’s not about anything. The first act is another “oh no, total devastation to the city.” The second act is ostensibly about Gray, but turns out to have been about meticulously moving Tosh and Owen into position for their death conversation. And by the third act we’re on to a story that was really about killing off Tosh and Owen. The structure holds together as a piece of steadily moving action television – the Doctor Who team has long been solid at doing stories that change shape and focus midway through.…

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Outside the Government: Fragments

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The week of my coauthor Alex Reed and I guest-editing 33 1/3’s blog in promotion of our book on They Might Be Giants’s Flood continues with Alex counting down the ten best TMBG non-album tracks. You can buy the book here.

It’s March 21st, 2008.

In Miracle Day there is a startlingly large continuity gaffe when Jack knows the “fixed point in time” explanation that he’s given in Utopia several decades too early. And yet this seems, in light of Fragments, to be just one of many gaffes in attempting to reconstruct Jack’s experience of the twentieth century. While employed by Torchwood, after all, he is seen to, for no apparent reason, enlist in the military to go to Pakistan, work for a travelling circus, and go romp around the US for a while. There is no coherent timeline to be had of Jack’s twentieth century.

This is strange given that the norm for Torchwood is rapidly shifting to being about various secrets from Jack’s long life that he’s been hiding. And yet these secrets exist in a fundamentally incoherent timeline. Jack’s twentieth century is so oversignified that it can contain anything. There are consciously no limitations to the secrets contained within it. He’s gone from having two years of his life that he knows nothing about to a hundred that the audience knows nothing about.

Which makes his life in Fragments odd, given that it is defined in essence by his being captured by Torchwood and steadily coming to accept their ways. The narrative is one of corruption – Jack goes from being appalled by Torchwood’s tendency to randomly murder aliens because it can’t think of anything to do with them to running the joint. Yes, he runs it in a more humane and less murderous way, but this is still the sense of progress that suggests that putting less evil people in charge of corrupt structures will fix them. Which is to say, New Labour.

In many ways this perfectly sets Jack up for the future of the show, in that it properly makes him a site of anxiety within the narrative. Jack is not a heo, but someone who has been corrupted by the system he sets out to work – a concrete demonstration of all that is wrong with the logic of changing the system from within. And yet on the other hand Jack is forever without – external to the world and to its systems. His status as a fixed point in time becomes all too symbolic; he becomes locked as a bridge between the world and its eccentric spaces. This liminal space is a source of danger. Jack becomes the eternal transgressor – always in between two spaces, but, unlike the character he derives from (who remains unspeakable within Torchwood) never moving as such. He is stuck on Earth, and festering there.

When, on New Year’s Day, he is finally given control of Torchwood Three, it is visibly a poisoned chalice. The site of too many crimes and murders.…

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