John Nathan-Turner

November 9, 2011

Things Fall Apart

Jack Grahamchristopher h bidmead, entropy, evolution, fedualism, full circle, idealism, John Nathan-Turner, keeper of traken, leisure hive, logopolis, mao, materialism, meglos, racism, season 18, state of decay1

Here’s a round-up of my Timelash II on Season 18. I was holding this (and some of the stuff about Seasons 19-21) back because I was going to rework it into something bigger, but that isn’t happening (too much else to do), so…

The Leisure Hive

Bidmead’s script tinkerings somewhat dilute the essential idea of a leisure planet in favour of wannabe-big-conceptual stuff… which is pretty dull and lumbering, if we’re honest.

The planet fails to convince as a leisure resort, which kind of undercuts all the lengths they go to to stress that the whole race have become employees of a going concern. All that boardroom stuff where they discuss investments suddenly looks redundant. What’s it there to contextualise?

The stylistic overhaul is huge, ambitious and largely successful. There’s a new willingness to try stuff out. They’re happy to go all dark and quiet during the scene where Timson is stalked by the West Lodge Foamasi. I particularly like the slow, melancholy opening.

Mind you, the seeds of the later-80s problems are already visible. The Doctor is now wearing a uniform, etc.

The politics is weird. The war was about… what? Argolin militarism? So, their response to their catastrophic defeat was to become capitalists specialising in leisure? Umm, okay… And their enemies, who now want peace, are apparently statists who have outlawed “private enterprise”… apart from a kind of mafia faction… er… Y’know, it’s potentially good stuff but, somehow, it fails to fit together.

It’s darn good as a first attempt at an overhaul of the basic dramatic and aesthetic values of a show in decline… but we’ll have to wait until ‘Full Circle’ before they get it to work.

You wouldn’t think this was the start of one of my absolute favourite seasons, would you?

Meglos

This is daft. But I have to confess to having a seriously soft spot for it.

There are some good ideas buried in there. The Dodecahedron makes me think of Kepler, and his obsession with the perfect shapes that he thought contained the secrets of the universe… which was a conflict within him between science and mysticism which he sought unsuccessfully to reconcile… the problem is that the nearest thing to such a character in the story is Zastor, who’s hardly there at all.

Some of the music is great. The Screens have an impressive monumentalism to their design. They suggest (to me anyway) some ruined statue of Ozymandias lying rusting in the silicon desert of the real.

Sadly we have a silly jungle planet too. And someone who wants to run the universe for no particular reason.

Also, we have casual racism in the casting: the Gaztaks are multi-racial because they’re a band of criminals. Of course, I realise this happens because they’re pirates… and pirates were supposedly (I know next to nothing about the actual history of pirates) a multi-racial bunch… but this also explains why there are no black Tigellans… which underlines the fact that, in this story, normality is civil society and civil society (i.e.…

May 22, 2011

Rolling the Boulder

Jack Graham80s, binro, Black Guardian, class, day of the moon, Enlightenment, fiona cumming, history, immortality, JN-T Day, John Nathan-Turner, Mawdryn Undead, nixon, peter grimwade, sam harris, steve gallagher, Terminus, the x files, uneven and combined development4

It’s JN-T Day! In honour of the late and much-maligned Mr Nathan-Turner – who rescued Who from the stylistic doldrums, produced a slew of stone classics and stuck around longer than he wanted to because he knew his departure would mean the end of the show – here is my Timelash II stuff on the stories usually called the ‘Black Guardian Trilogy’. Much undervalued, all three of them.

For John Nathan-Turner.

‘Mawdryn Undead’

Once you get past the Billy Bunter bibble of the opening (and even that is pleasingly unexpected) this develops into a highly satisfactory bit of concept-driven sci-fi, cleverly using time travel (never a major concern of the old-style show) as part of a complex but admirably clear plot, aware of itself as myth-reiteration (immortality as curse, the Flying Dutchman, etc.) and with a submerged political sense in its depiction of crime, power, unscrupulousness and luxury.

It engages with the Who mythos without being enslaved to it, using concepts from the show’s backstory to create a genuinely dramatic conflict situation in the characters’ here and now.

You can see everyone’s point of view here, even if you don’t like the way they’re behaving. There are no clear goodies or baddies except for the jarringly satanic Black Guardian, but even he works as a figure on the sidelines trying to manipulate and influence events through his conflicted avatar Turlough, who constitutes a bravura bit of experimentation: the companion who is unsure whether he’s bad or not!

The production design is superlative… with the mutants’ ship, the obelisk, the transmat capsule, the crystal, the stolen gallifreyan machine, the hall of portraits, etc., all impressing and lingering in the memory.

The acting is very good, with David Collings giving it the full RSC and Nick Courtney very carefully and skillfully delineating the differences between the alternate versions of the Brig. Davison is never better than when called upon to play the Doctor as thinking through events and figuring out his situation… and this story plays to that strength… also allowing him to bring an almost suave air of intelligence, particularly when he tosses the crystal back to Turlough with a look of sardonic calculation.

And you have to admire the sheer off-the-wall combinations. A public school comedy that develops into a story about time travelling mutants on a luxury cruise liner, featuring an alien teenager (though obviously played by a grown man) and one of his teachers being split into two personas… well, we’ve come a long way from stomping monsters invading Southern England every week.

It may not be as spectacular as some of the other stories from this era, but if this is the 80s show chugging along as normal then they’re obviously doing something very right.

I make no apologies; I love ‘Terminus’.

It’s almost relentlessly cold, austere, alienating, unsympathetic, brutal and nihilistic, set in an explicitly godless universe which is depicted as teeming with sickness, decay, cowardice, failure, pettiness, selfishness and great crashing waves of existential boredom.…