TARDIS Eruditorum

So. How was your weekend?

It’s November 24, 1979. Dr. Hook’s beautiful woman obsession continues for two more weeks before the Police break up the party with “Walking On the Moon.” That lasts for a week before Pink Floyd take the top slot with “Another Brick in the Wall.” Kool and the Gang, Donna Summer and Barbara Streisand, Gary Numan, and the Sugarhill Gang also chart, making this, I think, a strong contender for the most utterly screwed up set of musical options ever.

In real news, Air New Zealand Flight 901 crashes into Mount Erebus in Antarctica. Bruce George Peter Lee sets fire to a house in Hull, killing three and setting off a large manhunt. Jack Lynch resigns as Taoiseach of Ireland, which is by far the best name for a major political office ever, and the whole Rhodesia thing continues with the short-lived and unrecognized state of Zimbabwe Rhodesia returning to British control as Southern Rhodesia. Smallpox is formally eliminated, there’s a coup d’etat in South Korea, and the first Star Trek movie debuts.

While on television we once again have a story that gives us an opportunity to practice our “defending the Graham Williams era” skills. As usual, a curate’s egg. Somewhat surprisingly, the biggest problem isn’t the writing, given that this is a Bob Baker solo script. Apparently Dave Martin was the weak link there. I mean, the writing isn’t award winning genius. But it’s serviceable enough. The real flaws… let’s see. The Mandrels are, of course, a disaster, although at least with them, unlike several other recent monsters, you can see why people thought they could have worked. They’re firmly a case of just missing scary and landing on ridiculous (and the two are often a hair’s breadth apart) as opposed to a misconceived disaster. The acting is often poor, though nobody stands out as a particular disaster. The sets are… generic 70s space ship at its most generic, although some points are on offer for a relative lack of white.

But the biggest problem, if we’re being honest, is the basic concept. The number of series that have had good days with anti-drug stories is very, very small. It’s not a great topic, largely because one can’t deviate from the proscribed moral position that drugs are super-duper bad. Lacking in any ability to say or do anything interesting with the material they become little more than a race to see how ludicrously anti-drug you can end up being. So for Bob Baker to falter here is hardly surprising. Heck, even Steven Moffat has trouble with this theme, with “How to Make a Killing,” his anti-drug episode of Press Gang, being by far one of the weakest episodes of the series. Still, the fact that a vraxoin high consists of emotional apathy followed by death means that this has to be said to be something of an impressive entry in the ludicrously excessive anti-drug story sweepstakes. And given that vraxoin is one of the story’s big ideas and that another one of its big ideas is nothing more than a less interesting lift of Carnival of Monsters it’s easy to see why this story is a bit underwhelming.…

Continue Reading

We call it… green.

It’s October 27, 1979. Lena Martell are at number one with “One Day at a Time,” which is described as gospel-tinged country music. So that’s exactly the sort of thing that a Scottish singer is probably good at. After three weeks its unseated by Dr. Hook’s “When You’re In Love With A Beautiful Woman.” Fleetwood Mac, Sad Cafe, Queen, and The Jam also chart.

While in proper news, Saint Vincent and the Grenadines becomes independent from the UK. The Carl Bridgewater murder trial ends with all four of the accused being found guilty, though their convictions are overturned in 1997. NORAD computers in the US detect a massive Soviet nuclear strike, but it turns out to be a false alarm because someone put a training tape in the wrong slot and fooled the computer. Oops. Ted Kennedy declares that he’ll offer a primary challenge to Jimmy Carter. Also, the Iran hostage crisis begins with a mob of 3000 Iranians seizing the US embassy and holding 90 people, 53 of whom are American, hostage. Carter responds by freezing all Iranian assets in the US, and it all goes very well for him.

While on television we have The Creature From The Pit, one of the most tragically misunderstood stories in Doctor Who’s history. Some people, it seems, just don’t understand a proper anti-capitalist screed when they see one. Tragically, among them is the director of this story, Christopher Barry. Or, at least, that’s Tat Wood’s assessment, and on this point at least I’m inclined to agree.

Much like Terry Nation on Monday, I’m hardly inclined to slag Barry too hard. He directed the bulk of The Daleks, including the first appearance of the Dalek itself, he directed Power of the Daleks, he directed The Brain of Morbius, and he directed some lesser but still quite nice efforts like The Rescue and The Mutants. His sole problem here is one of the passage of time. In the normal course of things someone who was a solid television director in 1963 probably shouldn’t still be one in 1979. Virtually the entire medium changed over those 16 years. One of the things John Nathan-Turner does do a relatively admirable job of, even if he overdoes it a bit, is clearing out large swaths of the past that had stayed on past their prime and getting new blood onto the program. But to be honest, a lot of the problem the program is facing now is an inevitable part of being on season seventeen. It has to figure out which parts of its heritage are part of what the show is and what parts are things tit it should let go of. There wasn’t a rulebook on how to handle a show that had evolved continually over that kind of timespan. Science fiction had never done something like “Season Seventeen” before. It was hard.

And here Barry proved to be a poor choice. He makes two crushing mistakes, both of which Tat Wood is exactly on target about.…

Continue Reading

City of Death is made exactly 23% better if you assume Richard I was one of Scaroth’s incarnations.

It’s September 29th, 1979. The Police are sending out an SOS to the world. By the sales figures it appears that rather a lot of people got their message in a bottle. So, mission accomplished then. Still, they send it out for three weeks before The Buggles notice that they are radio stars and kill them. Blondie, The Commodores, Michael Jackson, and Kate Bush also make the top ten. XTC and The Damned sit lower in the charts.

In real news, the Hong Kong MTR opens, Nigeria brings an end to military rule, and Pope John Paul II, fresh from getting the ball rolling on the eventual collapse of the autocratic government of his native Poland, goes to the United States. Tragically, he’s less successful there, though barely a week after his departure a massive gay rights march takes place in Washington DC. A tsunami hits in Nice, a tornado in Windsor Locks, Connecticut, and a mob of pro-government thugs hits a newspaper and the home of the opposition leader in Malta.

While on television, we have a terribly unpopular story that no reputable fan enjoyed. No less an authority than John Peel, who later went on to helpfully fix the continuity errors introduced by Destiny of the Daleks, explains that the story is “pure farce,” that “the acting was once more appalling,” that characters were “so stupid as to be unbelievable,” that he “couldn’t believe that this was Doctor Who” and that it was “getting completely on [his] nerves.” So there you go. And to think, Miles and Wood spend two pages asking whether we should take one of his books seriously.

Speaking of Miles and Wood, this is the story in which their dueling style of review finally leaps into hilarious self-parody. Miles (quite correctly) proclaims that “it is, of course, one of the best things ever” before engaging in a review that consists almost entirely of explanations of why nothing else in the Williams era works as well as this. Wood, on the other hand, spends most of his critique explaining why Miles is wrong and the rest of the Williams era is as good as this. All well and good except for the rather massive lacunae in the middle of it whereby they both fail to talk about this story. (On the other hand, Miles, in describing how sitcoms work, does inadvertently pin down the central appeal of this section of About Time – “two people who don’t like each other, trapped in a room.”)

Continuing in my designated role as the unwanted third wheel to that particular odd couple, then, let’s look at what’s actually going on here. First of all, let’s concede a core point to Lawrence Miles. Regardless of what one thinks of the rest of the Williams era, and for my part that changes every few sentences, this is head and shoulders above not only the remainder of the era but frankly above virtually everything to have aired in the series previously.…

Continue Reading

As a child, this cover made me think of this story primarily as “the one with the better part of a sheep’s fleece on the cover.” It wasn’t until I looked at the cover again a few months ago that I realized it was smoke

It’s September 1, 1979. Cliff Richard are at the top of the charts with “We Don’t Talk Anymore,” a title that seems almost tautological as song titles go. After three weeks it’s unseated by Gary Numan’s “Cars,” a song that poses something of a fundamental philosophical problem. I mean, it was one thing to try to pretend that we were facing down business as usual when we were airing the Williams era while “Wuthering Heights” was at number one or when Siouxie and the Banshees were charting. But now we’re basically just kicking down the door for New Wave. Lower in the charts are the Boomtown Rats with “I Don’t Like Mondays,” and The Police with “Message in a Bottle,” as well as ELO, Roxy Music, and Earth, Wind, and Fire, the first two of which at least heighten the sense that there’s something off here – that the 80s have well and truly started without remembering to invite Doctor Who along for the ride.

Since The Armageddon Factor wrapped, most obviously, we’ve had Margaret Thatcher’s election. But we dealt with that last entry. The compact disc got its first public demo, two workers died in the collapse of the Penmanshiel Tunnel in Scotland, and then ten more in a methane explosion in a coal mine near Wigan. The Three Mile Island disaster happens, killing/injuring exactly nobody. Airey Neave, a Conservative MP, is assassinated by the IRA. A hundred children in the Central African Empire (previously and shortly thereafter the Central African Republic) are massacred for protesting against school uniforms with the active support (and indeed, by some accounts, participation) of the emperor, whose picture was emblazoned on the uniforms. The emperor, Jean-Bédel Bokassa, had previously blown 20% of the country’s GDP on his coronation.

Stil before this story, however, anti-Nazi demonstrator Blair Peach is killed by the police during a protest in London. Gay men riot in San Francisco after Harvey Milk’s killer manages a light sentence on the back of the infamous Twinkie Defense. American Airlines Flight 191 crashes in Chicago, marking the deadliest aviation accident in US history prior to 2001. (And that’s not the obvious 2001 event, by the way) John Paul II visits Poland in what ends up being a tremendously influential and important trip. Skylab crashes into Australia, the famed Disco Demolition Night takes place in Chicago, Saddam Hussein takes power, and Lord Mountbatten of Burma is assassinated by the IRA on the same day as the Warrenpoint Ambush. Oh, and Jimmy Carter is attacked by a non-IRA affiliated rabbit.

While during this story ESPN and For Better or For Worse debut. Emperor Bokassa, due to being, to borrow a phrase from Eddie Izzard, a mass-murdering fuckhead, is forcibly deposed by the French.…

Continue Reading

This is how it ends. Voratrelundar flirting with herself. True love at last.

It’s January 20th, 1979. The Village People remain at #1 with “YMCA.” One week later they’re unseated by Ian and the Blockheads’ “Hit Me With Your Rhythm Stick,” which I assume, especially based on what else is popular, is sort of like Lady Gaga’s Disco Stick. That’s all over in a week as Blondie hits number one with “Heart of Glass,” which, I mean, good for Blondie, but it’s one of the most brazen selling outs of any talented musician ever. But it still sees out the season. Oliva Newton-John, Funkadelic, Chaka Khan, ABBA, Leif Garrett, The Bee Gees, Elvis Costello, and Gloria Gaynor all also chart.

In real news, now is the winter of our discontent, but we’ll do that on Friday. Lesser news includes Brenda Ann Spencer opening fire on a school in San Diego because of her dislike of Mondays. Patty Hearst is released from prison on the same day that Ayatollah Khomeini returns to Tehran from exile, which just about sums up the Carter administration. Ten days later Khomeini takes power in Iran, leading to nothing but sunshine and bunnies for decades to come. Pluto nips inside Neptune’s orbit to let Neptune become the outermost planet. This remains so until 1999, at which point Pluto becomes the outermost planet again. Neptune, of course, is horribly jealous about this and plots political moves to retake the position more permanently, but that’s more a Tennant-era story. It snows in the Sahara Desert for half an hour, China invades Vietnam, and St. Lucia becomes independent from the UK.

While on television, the Key to Time concludes with neither a bang nor a whimper. But before we look too far at that, let’s take a step back and look at the arc as a whole one more time, and more generally at the Williams era to date. The central critical dilemma with the Williams era is straightforward enough: is it a witty and lively postmodern rendition of the tropes of science fiction, or is it just a bunch of cynical hacks mocking the show they’re supposed to be making?

Both of these, of course, overstate their case. The former, admittedly, is not nearly as impishly brilliant as Gareth Roberts’ summary of that case as viewing the era as “an artefact of postmodern forces combining to produce works of semiotic thickness through usage of meta-textual signifiers.” The latter, on the other hand, might actually be too nice. The same Roberts piece provides a damning account of the practical origins of the anti-Williams camp.

Not to leaf too many pages ahead, but there are only five more transmitted stories in the Williams era after this one. After that begins the nine-season tenure of John Nathan-Turner as producer – a tenure that defies easy classification as a single era. Nathan-Turner’s contributions to the program are far too complex to square away in what amounts to an introductory note. But one of the more sickening aspects of the era is the way in which Nathan-Turner presented himself as providing a glorious rebirth for the show and unabashedly threw Williams – his previous employer, keep in mind – under the bus to do it.…

Continue Reading

While in real news, Vietnam makes a major attack on the Khmer Rouge in Cambodia. Spain ratifies its new Constitution, an event that Wikipedia describes as officially ending military dictatorship, which is amusing given that six lines earlier in its timeline it describes an earlier stage in the Constitution’s development the exact same way. And there’s a big UN/UNICEF push for the “Year of the Child” featuring a big concert with ABBA, the Bee Gees, Donna Summer, and Rod Stewart. So that’s horrific.

While on television, it’s not a popular story at all. Let us be honest, for a moment, about the critical consensus regarding this story. Its weaknesses are evident, yes. It’s a bold fan who can defend the Swampies or the way in which Kroll is merged into shots. (The Kroll model itself is actually phenomenal, and it’s easy to see why his first appearance was an iconic moment for children of the time. On the other hand, the join between the two shots is an abomination.) But these in and of themselves don’t explain this story’s status as a punching bag, nor does the fact that it drags a bit.

No, the biggest problem this story has is that for a Robert Holmes script it’s complete and utter crap. It is, in fact, the second worst Robert Holmes script according to the DWM poll I’ve been oddly obsessing over through this story arc, coming in at 174th place. The one that’s lower is, of course, The Space Pirates, which is actually not a bad story to compare this one to.

Both, after all, have essentially the same origin. Holmes was called in to produce a script in a hurry to fill a gap. And in both cases he was given a thoroughly crappy set of instructions for his troubles. For The Space Pirates he was told to tack on two extra episodes and be sure to keep the science realistic. This time he got told to cut down on the humor and to insert the biggest monster in Doctor Who history. And in both cases the resulting script amounts to Robert Holmes writing a space Western. (Also, in a more esoteric coincidence, The Space Pirates was the first story on which John Nathan-Turner worked, then as a floor assistant. The Power of Kroll, on the other hand, was the first story produced by him, as Graham Williams, depending on your choice of sources, went on vacation or took ill, leaving him as the de facto producer.)…

Continue Reading

Duplicates! I haven’t seen duplicates in years!

It’s November 21, 1978. The Boomtown Rats are still at number one with “Rat Trap,” which should probably get at least some serious mention as, at least in Wikipedia’s unquestionably correct worldview, it is the first punk/new wave song to hit #1. In any case, my life gets simpler a week later when Rod Stewart hits number one with “Da Ya Think I’m Sexy,” a song that is really pretty unambiguous in all regards. A week later it’s Boney M with a version of “Mary’s Boy Child,” which stays in place through the end of the story. Blondie, The Cars, Sarah Brightman, The Bee Gees,  Barbara Streisand and Neil Diamond, and the Village People (with YMCA) all also get into the top ten. In the lower reaches of the chart are The Buzzcocks, The Clash, Elvis Costello, and for our purposes (and nobody else’s) most interestingly, Mankind with “Dr Who,” a version of the Doctor Who theme song, which makes it as high as 25.

In real news, Harvey Milk is murdered by Dan White. The Times halts publication for nearly a year due to labor problems, which is the sort of thing you’d normally like to mock Rupert Murdoch for, except he buys the paper in the fallout from these problems so still has nothing to do with it. Next time, Mr. Murdoch, I will not be so lenient. Also, the Spanish Constitution is established, officially restoring democracy to the country.

While on television we have one of those things that puzzles one about Doctor Who fandom. I’m not one to treat the Doctor Who Magazine surveys as the definitive gauge of fan opinion, and certainly not as some doctrinaire statement about aesthetics. On the other hand, I’m not going to pretend the Mighty 200 survey has nothing to tell us about Doctor Who. Obviously it does. There’s some type of fan that the survey is broadly representative of the taste of. We admittedly know little about this type of fan beyond “they answer Doctor Who Magazine” surveys, but they exist.

Where I’m going with all of this is that, not for the first time in recent memory, we’re looking at a story that has a puzzling reputation. According to the big DWM poll, this is the second best story of this season, behind Stones of Blood. Whereas I am unable to come up with an even remotely sincere argument for how to consider either of these stories better than the first two of the season. And that presents an interesting problem.

First, let’s quickly deal with what this story is. It’s fairly simple – it’s a parody of The Prisoner of Zenda. Tara is a planet with androids and advance technology that has, for no particularly discernible reason, taken on a social structure that almost exactly matches that of a Ruritanian Romance. All of this sounds cynical, and it is a bit. Certainly it’s tough not to see moving from a trio of complex multi-layered narratives to a straight pastiche as a bit of a move down, at least in some sense.…

Continue Reading

No, Doctor, Iain Cuthbertson was two stories ago.

It’s October 28, 1978. John Travolta and Olivia Newton John continue to do unspeakable things on Summer Nights and are thus left to sing about them instead. This lasts for three weeks before The Boomtown Rats make it to number one with “Rat Trap,” which, given that it’s now hit number one, makes me kind of regret that crack implying they were a one hit wonder with “I Don’t Like Mondays.” The Grease orgy continues lower in the charts with Olivia Newton-John making a solo appearance in the charts. The Jacksons, The Cars, and Public Image Ltd also chart. That said, when crafting the “also chart” sentence I usually limit myself to the top ten, and as we’re getting into the period where I actually love huge swaths of stuff going on lower in the charts, I think it’s time to inaugurate a sentence about the lower reaches of the charts so I have an excuse to mention The Buzzcocks, The Jam, Blondie, and Elvis Costello, if only to reassure anyone who wasn’t convinced by The Cars and Public Image Ltd that these are actually pretty good times for music. Having thusly reassured everyone, Donna Summer also charts with “MacArthur Park,” proving that there’s no hope at all and that we might as well just elect Margaret Thatcher or something.

In real news, we manage to avoid electing Margaret Thatcher for a bit longer. Instead Dominica gains independence from the UK. Anwar Sadat and Menachem Begin win the Nobel Peace Prize, an event that is in part notable because Jimmy Carter does not win it despite brokering that peace, setting up a rare case of an “oops, sorry we forgot about you” Nobel Peace Prize in 2002. (Not that Carter’s post-Presidency work was not meritorious, but let’s face it – that prize was 1/3 about Carter’s post-Presidency, 1/3 about a rebuke to Bush, and 1/3 about the fact that in hindsight he obviously deserved to split the 1978 prize.) Rioters sack the British embassy in Tehran, California voters defeat an initiative to ban gay schoolteachers, and, the day after the final episode of this story airs, the first Take Back the Night march happens in San Francisco. But the big news story happens the day the final episode of this story airs as the Jonestown Massacre happens, resulting in the murder/suicide (we’ll leave it ambiguous which victims were which) of a staggering 918 people.

While on television, we should probably go back and note the one thing we didn’t mention in the Pirate Planet post (and which I bet someone has already commented on, but I’m writing this before the Pirate Planet post goes up, so who knows) that ITV’s failed attempt to poach top BBC talent and compete on Saturdays has been going on. The key event of that is their poaching of Bruce Forsyth, previously host of the BBC’s Generation Game, now host of ITV’s rather more disastrous Bruce Forsyth’s Big Night.…

Continue Reading

Well, I can poke at it for a bit, but eventually we’re just going to have to give in and invent some technobabble.

It’s September 30, 1978. John Travolta and Oliva Newton John are at the top of the charts with “Summer Nights,” one of the classic cuts from Grease, and I’m going to go wash my fingers out with soap for even typing that phrase. This situation lasts for four weeks, and at two separate points other songs from Grease (John Travolta’s solo “Sandy” and Frankie Valli’s title track) also chart. In addition, ABBA, The Commodores, Exile (with “Kiss You All Over,” a country song whose sales may owe more to the topless woman on the single cover than to the song itself), Electric Light Orchestra, and the Boomtown Rats also chart, the latter with something other than “I Don’t Like Mondays.”

People who do like Mondays include the New York Yankees, who defeat arch-rivals the Boston Red Sox to make it to the AL East title (having been 14 games out of place a mere two months earlier) on their way towards winning the World Series on Monday, October 2nd (they win it on Tuesday, October 17th), and Karol Józef Wojty?a, who becomes Pope John Paul II on Monday, October 16th. Other eventful days of the week include Sundays, as Tuvalu becomes independent from the UK and Vietnam attacks Cambodia; Fridays, as the first Sydney Gay and Lesbian Mardi Gras takes place. Designed as protest march/commemoration of the Stonewall Riots, the event attains a permit which is then revoked, leading to numerous arrests and public outings of people for what had been legal activity; and Tuesdays, as a massive electrical fault brings down NASA’s SEASAT satellite after only 105 days of operation.

While on Saturdays, we have The Pirate Planet. By far the least loved of Douglas Adams’s three Doctor Who scripts and ranked a staggering fourth out of the six stories from this season in the Doctor Who Magazine poll, The Pirate Planet is, I think it’s safe to say, a deeply under-appreciated story. Somewhat unusually, the reasons to criticize this story haven’t changed much since 1978, with the major lines of critique closely paralleling the production difficulties the story had. These difficulties centered on two major concerns. First, Adams’s scripts required substantial revision. This fact is taken by some as evidence of Adams’s flaws as a writer, which would make total sense if the script editor hadn’t, at the end of the season, recommended Adams as his replacement. All reports in fact suggest that the problem with Adams’s scripts was excessive complexity. While I m not saying that this is prima facie not a problem, we ought be honest about the sort of problem it is. Writing above the level of complexity that Doctor Who ought go for is a heck of a lot easier to fix than being Bob Baker and David Martin is. That does not, of course, mean the script is good (though it is, as we’ll see), but at the very least there’s no strong reason to think it’s bad.…

Continue Reading