Eruditorum Press

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No Crime and No Punishment

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Aww, don’tcha just love the bourgeois mainstream?  I mean, ain’t they precious and priceless?  Isn’t their disingenuous, blithe, untroubled faith in recieved opinion; and their unquestioning belief in the fundamental goodness and honesty of the world they live in; just kind-of adorable?  Like toddlers who treat Mummy and Daddy like all-knowing, ever-protective gods.  And aren’t they sweet the way they get all serious about pondering the eternal verities they take for granted, like the way little kids are when they get all serious about a let’s-pretend game they’re playing.

I mean, look at this…

Dostoyevsky’s characters “justify murder in the name of ideological beliefs” which, according to the BBC, means he “foresaw the rise of the totalitarian state”.

Because it goes without saying that ‘democratic’ states never ever justify murder ideologically.  Nuh-uh.   The idea. 

Mindless, vacuous, unconcerned contentment of this type is sort-of cute, like the way cattle just mooch aimlessly around fields taking in the same sights over and over again, and happily munching on the cud.…

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Déjà bloody vu

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I was going to do this post all over again… (this is what we do with Palestine: say the same bloody things over and over again, because the same bloody things keep happening over and over again)… but Richard Seymour has already done it for me, very succintly.

(EDIT: I originally posted a screencap of Seymour’s tweet of a screencap.  But Seymour has now posted the original screencap itself on his blog.  So it seems only fair to remove my screencap of his tweet and just link to him.  Not that he needs hits from me.) …

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UKIP SURGE AHEAD ON SHABOGAN GRAFFITI

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The main headlines today.

THE BBC NEWS DIVISION HAS TAKEN OVER OWNERSHIP OF OBSCURE DOCTOR WHO BLOG SHABOGAN GRAFFITI

“The blog will now be run according to proper BBC guidelines of impartiality,” said that lying Zionist shitsack James Harding, head of BBC News.

In other news…

UKIP SURGE FORWARD AND ONWARDS TO CERTAIN FORWARD MARCHING MARCH OF ONWARD SURGING SURGENESS AHEAD ON SHABOGAN GRAFFITI.

The BBC Newsroom is reporting that despite there being no sentiments ever expressed on Shabogan Graffiti that a Ukipper would ever find acceptable, UKIP have broken through with a breakthrough on Shabogan Graffiti and are now surging forward and ahead to breakthroughs and surges on the unpopular blog.

“Apparently the vast majority of the British electorate do not read Shabogan Graffiti,” said a hairdo on top of a suit behind a desk, “but even so, the fact that UKIP have now broken through and surged across the blog shows clearly that the British public think UKIP are a force to be reckoned with and a reckon to be forced with and surging and breaking through and getting the mainstream establishment parties running scared.”

Finally…

BBC ANNOUNCES NEW SERIES OF POSTS ON SHABOGAN GRAFFITI, TO BE ENTITLED ‘IMMIGRATION: ASKING THE DIFFICULT QUESTIONS THAT MOST WHITE WORKING CLASS PEOPLE WANT ANSWERED BUT WHICH THE POLITICAL CORRECTNESS NAZIS REFUSE ANY OF US TO TALK ABOUT’.

Andrew Marr is 412 years old.…

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The Obligatory Returned-Episodes Post

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Hurrah, etc.

As Lawrence Miles says, there’s no point trying act all cool at a time like this.  It’s great news and I’m very happy about it.  Sincerely.  You’d have to be a miserablist of a more perverse and determined stamp than I not to be as pleased as punch.

Of course, I could whinge about some things.

And will.

This blog has a USP after all.

I could, for instance, mention the way Nigeria – where the episodes were found – has suddenly swung briefly onto the mental radars of people who, until a few days ago, probably had only a dim idea that it existed at all.  It’s ironic because, at more or less the time when those missing episodes were made, the Wilson government was helping the corrupt Nigerian military dictatorship crush Biafra.  Britain continued arming the junta for years, despite government denials.  The regime was engaged in a longstanding war against the Ogoni people – one of the forgotten persecuted peoples in the world.  Shell’s exploitation of oil reserves in their region has had untold environmental and human costs, making the Niger Delta one of the most petroleum-impacted regions on Earth.  In 1995, the Nigerian government – utterly in thrall to and bound up with Shell – began a campaign of ruthless repression against the growing anti-Shell protest movement.  The ‘Ogoni Nine’, including Ken Saro-Wiwa, were arrested and executed, causing a (brief) international outcry.  Nigeria achieved formal democracy in 1999 but the corrupt government still wages war against the living standards and rights of the Nigerian people in the service of international oil profits.  Indeed, as in so many places, this war is a condition of IMF debt relief and loans.  The American government occasionally declares itself troubled by the rigged elections and violence in Nigeria, but Nigeria supplies them with large amounts of oil – the country is up there with Saudi Arabia when it comes to oil exports – so they never do anything beyond the pious declarations.  The crippling economic situation in Nigeria, with a huge portion of the population living in slums, is the root cause of ongoing ethnic and religious violence.  Even the BBC is capable of making the connection between the violence and the poverty rate (above 60% and rising).  Boko Haram, an Islamic fundamentalist group responsible for many attacks – including this last month – are based in the predominantly Muslim north-east, hardest hit by poverty.  Go figure.

But they also had ‘The Enemy of the World’ and ‘The Web of Fear’ on a shelf somewhere, so I guess its swings and roundabouts, yeah?

Back in what I like to call my TARDIS Whingeorium, I could also mention the relative importance given by some to the release of these old episodes and the wanton sell-off of Royal Mail, which was announced on the same day and which constitutes a swindle on the taxpayer to the tune of millions, possibly billions… with much of the benefit available only to huge international ‘sovereign wealth funds‘. …

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Nearly Silent

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Simon Schama gets a huge slab of BBC money and airtime to obfuscate the truth in the service of Apartheid state Israel, taking official Israeli lies as the basis of his ‘case’.  See here. 

Simon Schama, thinking profound thoughts about history ‘n’ stuff.

Licence-fee money well spent there. 

Best bit, on the wall:

“I want to say, nobody, including me, ultimately has the moral right to say that shouldn’t have happened, the wall shouldn’t have happened. Before the wall happened, hundreds of people were dying every year from terrorist attacks; after the wall happened very, very few….”

Actually, since the start of the wall, over 4,000 Palestinians have died… but they obviously don’t come into the category of ‘people’ for Professor Schama, no more than the Haitian slaves who didn’t get mentioned in his massive book on the French Revolution.

He continues:

“In some senses, if you don’t live in Israel — I don’t live in Israel — you are morally obliged to be nearly silent.”

So shouldn’t that mean that Professor Schama should be “nearly silent” about it?  No, of course not.  He means that people who disapprove of the wall should be “nearly silent”.  That’s the viewpoint that is invalid if it comes from a non-Israeli.  Fascinating how clever people can talk circular, babyish drivel and think it profundity… while being totally unconscious of how they themselves are broadcasting – in this case literally – their own moral hypocrisy.

Or maybe Schama’s programme constituted ‘near silence’… it was, after all, of little substance. 

If only the Palestinians were allowed to be as “nearly silent” on the ‘objective’ BBC as the Zionists.   …

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The Cut

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On ‘The Space Museum’

Recently, while tracking some hits this blog received, I discovered a new Doctor Who podcast called Pex Lives.  It’s great stuff, well worth listening to… and I’m not just saying that because the guys who make it – Kevin Burns and James Murphy – kindly linked to me and mentioned me in one of the episodes.  Their third and latest podcast is just out, and centres upon ‘The Krotons’.  Their second podcast is about ‘The Space Museum’ and they delve into the piece with lots of wit (in both senses of the word) alongside anarchism, Tolstoy, progress and political change.  Not many Who podcasts touch on stuff like this.  My favourite quote: “we’re both ambivalent about violent revolution”.  (For the record, so am I.)   It also helps that they both have likeable voices.  Kevin sounds like Terry Gilliam (i.e. he has one of those American voices that sounds as though it is filtered through a permanent grin of enthusiasm) and James sounds like a gigantic, sentient, wryly raised eyebrow that has somehow gained the ability to talk with the voice of a hip-hop DJ.  Even so, I kept on wanting to interrupt them… which I mean as a compliment.  So I made some notes instead, and they turned into this:

1. Freeze Frame

The Doctor, Vicki, Barbara and Ian spend episode one wandering around the museum unseen and unheard, unable to interact with events and apparently seeing glimpses of their own future, culminating in their encountering themselves as exhibits. The explanation for this is that they’ve “jumped a time track” and arrived before their arrival, so to speak. Vicki ponders what this means in a speech that, as the Pexcasters remark, is as poetic as it is scientifically meaningless:

Time, like space, although a dimension in itself, also has dimensions of its own.

However, I think that “time”, as used here, really refers to narrative, particularly TV narrative. One of those inner dimensions of narrative is, of course, metaphor. So when Vicki uses the word “time” metaphorically to refer to TV narrative (hereafter TVN), and thus says that narrative has dimensions of its own, she identifies one of those dimensions by using it.

But let’s look at the moment when the ‘time track’ is ‘jumped’. This happens at the very beginning of part one, which is also a reprise of the cliffhanger at the end of ‘The Crusade’.  This cliffhanger was a sudden and uncanny ‘freezing’ of the characters.  The Doctor & Co. are still frozen in their medieval duds at the beginning of ‘Space Museum’.  They then unfreeze in their regular clothes (Ian in suave catalogue menswear, Vicki in teenybopper pop-socks, Barbara in her oh-so-practical cardigan, and the Doctor in his usual quasi-Edwardian proto-Adam Adamant gear). The Doctor, upon being questioned about this by the baffled Ian, says that the answer is “time and relativity, dear boy”.

This ‘jump’ occurs at the junction of two stories, one ending and the other starting.  At the start of the new TVN, the characters are still, so to speak, stuck at the end of the last TVN. …

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Children in Need

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The BBC’s failure to protect kids from Jimmy Savile is revolting, but it’s hardly the beginning or the end of their disinterest in violence against children.  Certain children, anyway.  The keepers of Pudsey are strangely uninterested in the child victims of powerful and influential people… be they depraved DJs or depraved states that happen to be Western allies.

For instance, as I write this, the state of Israel – a brutal, aggressive, nuclear armed, apartheid state which is mysteriously supposed to be less of a threat to world peace than Iran – is murdering Gazan children.  (It does no good, by the way, to trot out that old chestnut about them not deliberately aiming at the kids… if you get a machine gun and spray bullets blindly into a school, it’s no good later claiming you were only trying to hit the cigar-smoking TV personality lurking in the corner.)

This is nothing new, nor is the BBC response, which is as routine as it is pusilanimous.  Indeed, cowardice in the face of the powerful Israeli lobby (not to mention the backing Israel gets from the USA and our government) is the most charitable interpretation.  A less charitable – and probably more accurate – interpretation would be that those BBC content providers covering the ‘conflict’ in Gaza are unaware of the way they are loading and slanting their words.

Some examples?  Try these from the BBC website today.  Click on them to make them bigger.

Note that the ‘Key Points’ are all to do with the so-called ‘targeted assassination’ of a Hamas leader.  Note the phrase “militant groups”, presumably including Hamas, a democratically elected party.  Note the prominence given to Israeli officials, who are allowed to frame the Israeli operation as being aimed at “terror targets” in response to “days of on going rocket attacks on Israeli civilians”, the aim being to “protect Israeli civilians” (the only civilians who matter, or even exist, apparently).

No mention of the Gazan civilians, including young children, slaughtered.  Can you imagine how differently the page might read if the Palestinian rockets had caused any comparable damage to Israel, or if Iran had bombed somebody and caused as much suffering?

This one from today too:

Here’s the headline.  Note the relative sizes (and thus importance) given to Israeli and Palestinian deaths… bearing in mind the ratios and the fact that Israel is immensely better armed.  Notice the decontextualised way the attack becomes “cross-border violence” in line with the BBC’s usual way of depicting Israel/Palestine as a two-tribes-squabble issue, rather than the brutal domination of a subjugated captive minority by a powerful state.

Yesterday, the blog Electronic Intifada published a “statement from international academics who recently particpated in a conference on linguistics at the Islamic University of Gaza which decries major media outlets’ failure to report on recent killings of Palestinian civilians by Israeli forces in Gaza.”  The statement spells out the issue far better than I could, and takes in the BBC’s role as peddling the unbalanced and dishonest message. …

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Cruel and Cowardly

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Trigger Warning.

So, Jimmy Savile and all that.  The hidden well of suppurating pus beneath the now-picked scab of BBC light entertainment.

It would seem that vast amounts of Doctor Who were made by an organisation that, in its widespread branches and ascending echelons, actively colluded in facilitating and covering-up the abuse and rape of children.  Lots of children.

By itself, this observation is irrelevant to the wider scandal, and to dwell on it from the fan standpoint would surely amount to morally myopic solipsism of the first degree.  What matters isn’t how we feel about it, or how it changes our viewing of contemporaneous episodes.  On the list of things that matter, that’s so far down that it’s in an appendix, in small print.  Yet it surely demands some thought from those of us steeped in the show, in the history of it and the watching of it.

Most of us fans have – via the videos and DVDs and toys and… ahem… websites – given unreasonable amounts of our time and loyalty and extra money to the BBC.  The same organisation that cosetted and enabled a man who, beyond being a routine right-wing shitsmear of a type all-too-common in the entertainment world, was also a known child rapist.  The BBC, the makers and marketers of the children’s own show that the adults adore, instititionally sat on the knowledge and did nothing.

We shouldn’t, of course, be shocked out of any illusions about the BBC being a beneveolent, lovable old auntie or any such mindless, sentimental bollocks.  I’m now past the point where I’d be happy to take part in any ‘Proud of the BBC’ campaigns.  I guess even Mitch Benn would probably not write the same lyrics, were he writing today.

No, no.  The BBC News helps naturalise and peddle and thus facilitate wars, invasions, corruption, hard-right government policies, police brutality, neo-liberal assumptions galore, and a thoroughly establishment view of reality.  This is it’s notion of balance and objectivity.  Andrew Marr and Jeremy Vine and other such clueless parrots of capitalist realism, spewing endless reiterations of hegemonic ideology.  BBC drama and comedy and entertainment shows – Doctor Who included – generally promulgate deference, hierarchy, cultural racism, heterodoxy and conformity, heteronormativity, contempt for the working class and bourgeois values.  The BBC, as a force in the culture industries, instinctively advocates respect for authority and royalty and capitalism and established power.

That it is loathed and hated poisonously by the Murdoch press and the rest of Britain’s reactionary print media is testament only to the fact that, being publically owned, it doesn’t earn profit for the capitalist class directly, and even cuts into a wedge of the market.  Being nominally accountable to the public, it is occasionally capable of mild deviations from the ideological ultra-lunacy of the press, red-top or ‘quality’.  From the standpoint of Melanie Phillips and persons of her loathsome ilk, it’s communism to even affect neutrality over, say, Israel/Palestine, even if the real effect of your coverage is to perpetuate all the reactionary lies peddled about the conflict. …

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Playing with Dolls

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UPDATE, 25/09/12:  If you read this post, please read on through the comments too.  Some astute readers used the comments section to set me straight on some issues both of fact and interpretation.  As a result, my attitude towards ‘Night Terrors’ is now considerably more negative than my initial reaction (which you can read in the main review below).  In fairness to myself, I do spend most of the piece saying what I don’t like about ‘Night Terrors’, including identifying some of what I call the “latent hostility” towards working-class people… but I failed to notice the wider context of the episode and so also the scale of the problem.  I don’t mind admitting when I’m wrong (of course, I do really) but I hate that I blogged before giving myself sufficient time to think.  

Okay, my foolhardy project of catching up with all the Doctor Who I’ve not seen in order to re-synch with the new stuff (and hopefully provide myself with blogging material) continues.

Last night I finally watched ‘Night Terrors’. Much to my astonishment, I didn’t absolutely hate it. I mean, it wasn’t particularly good… but it wasn’t actively offensive most of the time either. Which is fairly good going for Moffat-era Who written by Gatiss.

I was horrified by the idea that the Doctor now hears and answers prayers like God, with the pleas of a little boy travelling up to him through the heavens, but that was somewhat neutralised later by some technobabble explanation that made it sound very much like a special case.  In the end, I liked that the Doctor actually seemed comparatively less full of himself, and more like a guy making it up and thinking it out as he went along.  Matt Smith should be encouraged to slow down a bit more often.  He had some nice, quiet moments (inbetween all the usual frenetic gibbering) that were very likeable.  He does ‘kindly’ rather well.

There were cliches galore, of course.  An old lady complains about her knees.  A yobbo guy with a pitbull.  Hoodies, etc.

Where would any mainstream BBC drama be nowadays if it had to try and depict a housing estate without the employment of hostile cliches?  I think the latter stages of RTD’s depiction of Rose’s estate are the last example of such places being sketched without such latent hostility.

But… there was an interesting visual stress on the uniformity and blandness of the housing estate, bathed in that sickly yellow night-time street-light aura.

And this made the opulent but fake interior of the ‘mansion house’ into a fairly interesting visual counterpoint.

Of course, it was entirely predictable that the mansion would turn out to be a dolls house.  But even that was kind of covered when the Doctor immediately realises it when he ends up there, treating the conclusion as though it’s self-evident.  It looks like evidence of two tracks of thought at work in the story.  We’re more on the Doctor’s wavelength than the other characters… which is not self-evidently the wrong way to do it. …

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Balanced and Objective

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The BBC doing what it does best: “In Iran’s iconography of villainy, Britain holds a special place. The UK is seen as the mastermind behind the overthrow of previous Iranian governments. Conservative hardliners believe Britain has in its blood the desire to decide who rules Iran.”  Textbook stuff from James Reynolds “BBC Iran correspondent”.

Make it all a matter of opinion: “is seen as”.  Put it down to someone at the so-called ‘extreme’: “hardliners”.  Pathologise the unacceptable view, make it sound like childish paranoia, sneer at it under your hand: “Iran’s iconography of villainy”.

Fact is, if people in Iran feel that way about us, they are justified.  The British government, lead by Winston Churchill, were the original movers in the plot to overthrow the democratically elected government of Mossadegh, because he wanted to nationalise the Anglo-Persian Oil Company, which funnelled oil profits out of Iran to Britain (in other words, he had the temerity to think that Iranians should benefit from Iranian resources).  Churchill put up the money.  The CIA took over the plot.  They hired mobsters and Nazi collaborators in Iran.  CIA agents started riots.  They started a coup which lead to the ascension of the Shah’s dictatorship and the reign of the SAVAK secret police, described by Amnesty as the worst human rights violators in the world.  Murder, terror, torture, tyranny.  But Western oil companies kept their revenue, so that’s okay (though the Americans elbowed Anglo-Persian – now BP – out somewhat in favour of an international consortium in which they had hegemony).

Now we and the Americans are once again gearing up to attack this country that we have already harmed so badly.  For the hegemony of the American empire and the desperate, clawing need of the tottering neoliberal system.  I don’t know what shenanigans have lead to our closure of the British Embassy in Tehran and the expulsion of Iranian diplomats from the UK… but you can be sure it’s got less to do with outrage at Iranian protestors and more to do with imperialist scheming.

And why?  Because Iran has a nuke program?  Well, maybe.  But why, precisely, are we allowed to have nukes, the Americans are allowed to have nukes (they’re the only people who’ve ever used them on another nation, remember) and Israel (a brutal, racist, apartheid state) is allowed to have nukes… but we mustn’t let barbarians like Iran have them… because they’d impinge on Western imperial domination.  Why are we the ones who can be trusted?  Because we’re the good guys.  We – the ones who nuked Hiroshima, organised that coup I was just talking about and have bankrolled the horrific treatment of the Palestinians – we are the civilised people.  This is the objective and balanced assumption underlying the BBC’s coverage.

Well, truth is not balanced or objective.…

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