donna

July 13, 2011

Welcome Matt

Jack Graham asylum seekers, christmas carol, donna, eleventh hour, gareth roberts, hungry earth, lodger, matt smith, paul cornell, river song, series 5, silurians, steven moffat, time of angels, turn left, vincent and the doctor, weeping angels 8

Timelash II. Series 5. You know the drill. Thank goodness this tiresome, needless, self-imposed task is now almost over.

The Eleventh Hour

How interesting that, whereas RTD usually got public figures to play themselves in contexts that took the piss out of them (even if they didn’t realise it), Moffat drafts Patrick Moore and casts him as a prestigious and influential expert with a naughty twinkle in his eye, rather than as a sexist, right-wing old pratt.

I’ll post seperately on The Beast Below. I’ve looked at the heavily biased and ideological representation of Churchill in Victory of the Daleks here. The only other thing to note about that wretched story is the cynicism with which the Daleks have been redesigned in order to launch a new range of toys.

The Angels Two-Parter

I like the bit with the angel on the screen. Nice bit of appropriation from J-horror.

Otherwise… well, I’ll once again quote my friend vgrattidge-1, who captures it concisely:

Just what ‘Who’ needed – another straight-to-video style ‘Aliens’ rip-off that undermines a brilliant (one-off!) monster and makes them behave in illogical ways for plot expediency, plus the smug and annoying River Song (I just can’t bring myself to care what relationship she has with the Doctor) and well, not much else. It’s hollow stuff with the Doc making another tough-guy speech before firing a gun…Yawn

One interesting thing about this story is the matter of the Church Soldiers (related to the Church Police perhaps… will they be investigating dead Bishops on the landing and rat tart?). I remember Paul Cornell saying he was grateful to Moffat for his generosity in portraying relgious people in a positive light. So… Paul sees it as positive when monks are shown going around in fatigues, obeying orders within a military hierarchy and carrying machine guns? How telling.

Vampires of Venice was too boring to write about. Here is my (positive) look at Amy’s Choice.

The Hungry Earth / Whatever the Other One was Called

The Silurians become dull, generic reptile aliens… and, as I recall, such reptile aliens featured in one of the very few half-decent episodes of ST: Voyager, which actually tried to intelligently investigate some of the cultural ramifications of ‘common descent’, etc. It comes to something when Who can’t even do reptile aliens better than Voyager.

The less likeable side of Star Trek actually provides the inspiration for story. It resembles the worst excesses of Trek when it’s in liberal-moralising-allegory mode. There is the fatuous treatment of racial suspicion, the vapid semi-allusions to Israel/Palestine (lets get round the table and sort out a deal… all we need is a reasonable negotiating partner!), etc.

Worse, it wants to have its cake an eat it. On the one hand there is the morally myopic liberal fingerwagging at nasty old inherently-xenophobic humans… but this contradicts the half-assed (bordering on offensive) subtext about Guantanamo Bay / Abu Ghraib, where the mother who tortures a recalcitrant and inherently hostile Arab terrorist… sorry, I mean a Silurian… for information is shown to be acting from understandable necessity.…

July 12, 2011

Little People

Jack Graham daleks in manhattan, donna, fires of pompeii, forest of the dead, next doctor, partners in crime, poison sky, series 4, silence in the library, smith and jones, soap, sontaran stratagem, specials, voyage of the damned, waters of mars 3

The inevitable round-up of my Timelash II stuff on Series 4 and the ‘specials’. It’s a bumpy ride.

Voyage of the Damned

In this story, fat people or little people are there to sacrifice themselves when the plot needs them to, having shown some fatuous mechanical bravery and/or expressed some mawkish emotion-by-numbers. Sexy, pretty people are inherently of more value, whatever their intellectual vapidity and hollowness as characters, as evidenced by the Doctor’s laughably protracted and exaggerated heartbreak over the death of anonymous, mechanised dummy Astrid (seriously, I was waiting for her to be revealed as an Auton). The episode itself mourns her too, with its frankly revolting music and hilarious over-emphasis on her passing (one last kiss with the radiant ghost, a shooting star, etc…)

We’re supposed to gasp with awe at the way RTD Subverts Expectations by letting Unpleasant Posh Bloke survive while ‘good’ people die (oooh, have a little pat on the head you good little people – you have done your master’s bidding and died on cue like the plot fodder you always were)… but so what? Bad people don’t always get their comeuppance? Wow, thanks for that.

And, in any case, this ‘message’ is undercut by the way we’re obviously supposed to consider the death of Astrid more important than all the other deaths in the episode. Why is this? Well, RTD makes the Minogue character into a lowly waitress… but this only suggests that he’s desperately trying to deny the patently obvious: she’s more important in the story because she’s played by a star.

Remember that bit in ‘The Stolen Earth’ when Davros taunts the Doctor about how he turns ordinary people into killers and the Doctor then has a maudlin (and irrelevant) series of flashbacks of all the people he’s known who’ve died? We get a flash of Astrid. Do we get flashes of Morvin, Foon and Banakafalatta? In a pig’s arse. Little people. Not important. That’s why it’s so unintentionally revealing when, in ‘Waters of Mars’, we’re supposed to be shocked by the Doctor using the actual phrase “little people”. Thing is, the show itself has been thinking like that for ages. Even in ‘Waters of Mars’, the death of the Lindsy Duncan character is more earthshattering because she’s played by Lindsy Duncan.

As Lawrence Miles said, RTD is now so thoroughly trapped in the self-celebrating Meedja echo chamber that he now has the Doctor being chased by BAFTAs.

Yes, the villain turns out to be a ruthless capitalist (who – as in Bond films – is bad because he’s a criminal, not because he’s a capitalist) but this hardly says anything at all… not in an episode in which we’re also supposed to think that Wilf’s patriotic bibble is cute and lovable, in which the Doctor is implied to be a friend of the Queen, in which his big achievement is to save Buckingham Palace. The implications are thoroughly and mindlessly reactionary. Right-wing, Little Englander, flag-waving, royalty-saluters are Lovable British Eccentrics. The British state and aristocracy are Lovable British Eccentrics.…

July 12, 2011

Asylum, UK

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A rejigg of something I wrote for the old site on the subject of ‘Turn Left’, the best episode of series 4.

The alternate world that Davies conjures up in ‘Turn Left’ is not so far removed from our own. We might not (yet) see British soldiers patrolling our streets and pointing automatic weapons at unarmed women (though the recent behaviour of the police towards student protestors has been pretty savage)… but that sight would not be so unfamiliar to the people of Baghdad. Or Belfast, for that matter.

The nightmarish, decaying, dystopian Britain in this episode reflects aspects of our current social predicament… indeed, as Simon Kinnear pointed out in DWM, the episode seems prescient of the years ahead of it, of (to put it my way) recession/cuts torn Britain.

While it doesn’t get specific, or touch economics much, ‘Turn Left’ seems like the closest thing to a direct political attack on crisis-wracked British society that any mainstream TV show could possibly get away with. Let’s just recap: in an episode of that highly commercial kid’s romp known as Doctor Who, Russell T. Davies suggested that, in a time of crisis, the British state might institute a program of racist slavery, if not extermination. At the very least, we see people herded and treated like animals while patrolled by armed guardians of the state. Moreover, the people being treated that way are the poor, the dispossessed, the helpless. Brits get the kind of treatment meted out to refugees once they too become scapegoatable dependents.

I’m not sure that Davies intended the title as direct political advice (though it wouldn’t be bad advice) but it surely can’t be entirely an accident that Donna’s apocalyptic turn is a turn to the right, a turn that results in “England for the English”.

The Donna in the car at the start of ‘Turn Left’ might vote that way. She’s the same thoughtless, selfish Donna we met at the start of ‘The Runaway Bride’. She’s exactly the kind of self-involved, complacent brat who hardly notices as society crashes around her… until she is touched by it. Davies pulls no punches. We see her obsessing over stationary and offices grudges as the rest of Chowdry’s staff watch the TV, horrified, for news of the hospital. We see her asking “What’s for tea?” as news of Sarah Jane Smith’s death flashes on the screen.

I know people like that. Indeed, speaking as someone who lives in southern England – surely the global epicentre of reactionary complacency – it is very hard indeed not to derive a massive and delicious jolt of schadenfreude from the way Davies manages to turn the (surviving) population of the Sun and Daily Mail reading world into despised, harangued, jobless refugees. “Who’s going to listen to us?” asks Donna’s Mum, “Refugees. We haven’t even got a vote. We’re just no-one Donna. We don’t exist.” To put it another way: seek asylum and you’ll be locked up in one.

It’s ironic that as Donna’s society disintegrates, she suddenly discovers other people.…