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Eruditorum Press

Christmas and Easter nihilists

rtd

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“We waited here in the dark space,” booms the Dalek Emperor, “damaged but rebuilding. Centuries passed, and we quietly infiltrated the systems of Earth, harvesting the waste of humanity. The prisoners, the refugees, the dispossessed. They all came to us. The bodies were filtered, pulped, sifted. The seed of the human race is perverted. Only one cell in a billion was fit to be nurtured.”

So, In Russell’s rewrite of ‘Revelation of the Daleks’ (which would be a better title for this story than it was for Saward’s script), the Daleks are no longer harvesting the elite.  Brought to the brink of extinction, they have been forced to resurrect themselves from the ‘dregs’… which seems to be synonymous with the contestants who lose game shows.  The Daleks take the people who get knocked out before the finale.  Because the Daleks have become TV producers.  They’ve become the people who run Big Brother and Trinny & Susannah and The Weakest Link.  They’ve become the bosses of reality TV.  They’ve become Simon Cowell.  (Which is kind of an insult to the Daleks, if you ask me.)

Big Brother, in our polity, in our system of media signs, is no longer Orwell’s omniscient totalitarian leader; he’s now the eternal, ever-watching viewer.  He’s us.  Just like the Daleks are now us.

“So you created an army of Daleks out of the dead,” says the Doctor.

Again, the gothic, the monopoly, and the zombie labour.

“That makes them half human,” mutters Rose… as always, she is straight to the quick.

“Those words are blasphemy!” bellows the Dalek Emperor.

The Daleks chant in unison…

“Do not blaspheme!  Do not blaspheme!  Do not blaspheme!”

“Since when did the Daleks have a concept of blasphemy?” asks the Doctor.

“I reached into the dirt and made new life. I am the God of all Daleks!”

The Daleks chant in unison…

“Worship him!  Worship him!  Worship him!”

Bringing back the Daleks in 2005, four years after 9/11 and the start of the ‘War on Terror’, two years into the conquest and occupation of Iraq, Russell T. Davies makes them religious fundamentalists.  The world is in the middle of an apparent ‘clash of civilisations’, with religion as the supposed organising logic.  But are these new fundamentalist Daleks – ‘Fundamentaleks’ – supposed to be Osama and Al Qaeda?  Are they Bush and the neocon Christian crusaders?  Both?  Two sides of the same coin?

To me, they look more like another kind of fundamentalism, a more prevalent and destructive kind.

They run a massive media system based on ruthless competition.  The housemates who lose the battle for popularity get ejected into nothingness.  The Trinny & Susannah bots encourage people to carve into their own flesh in order to look right.  The weakest links get zapped, and the strongest link is the one who most effectively and ruthlessly competes, who must callously fucks over his competitors.  Society has become “a charnel house” in which people compete in competitions of spectacular triviality which are framed as epic battles. …

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For March Against the Mainstream Media Day

The Editor (apparently he edits the whole of human society) has uncovered Suki’s true identity.  Instead of being just another inoffensive wannabe employee, she’s actually…

“Eva Saint Julienne, last surviving member of the Freedom Fifteen. Hmm, self declared anarchist, is that right?”  His tone is patronising.  Non-mainstream political principles are a quaint and amusing affectation.

“The Freedom Foundation has been monitoring Satellite Five’s transmissions,” says Suki, pulling a gun on the smug bastard, “We have absolute proof that the facts are being manipulated. You are lying to the people.”

“Ooo, I love it,” he giggles, still in the same tone of amusement, as though he’s listening to hilariously naff dialogue in a period drama, “Say it again.”

“This whole system is corrupt. Who do you represent?”

The Editor is self-aware enough to know that, for all his power, he’s a slave himself.

“I answer to the Editor in Chief…. If you don’t mind, I’m going to have to refer this upwards.”

Suki looks up, to see what the Editor is referring to.

“What is that?” she asks.

“Your boss. This has always been your boss, since the day you were born.”

Lower down Satellite 5, the Doctor is quizzing Cathica, who has lived all her life on one level.

“I don’t know anything,” she says proudly.

“Don’t you even ask?”

“Why would I?”

“You’re a journalist.”

“What’s that got to do with anything?”

She genuinely doesn’t understand him.  She doesn’t know what is on the floors above her… except that on the executive level, the place she’s been trained to yearn for, “the walls are made of gold”.  She doesn’t know why “immigration has tightened up”.  Forced to guess, she flails around and suggests some vague notions, all based on the random ‘shit happens’ model, none of which point any blame at anybody powerful or any powerful structures.  And this is a member of society in which people are surrounded by ‘News’, in which they have holes carved into their own heads so information can be beamed directly into their brains.  For all the ‘news’ and ‘information’, they don’t know what’s going on or why.

“This society’s the wrong shape…” says the Doctor.

When the Doctor and Rose reach the top floors, the walls aren’t made of gold, they’re made of frosted steel, and the workstations are manned by zombies – including Suki.

“I think she’s dead,” says the Doctor.

“She’s working,” says Rose.

In capitalism, mindless labour transforms you into the walking dead… or, in this case, the sitting at a desk dead.

“It may interest you to know,” smarms the Editor, “that this is not the Fourth Great and Bountiful Human Empire. In fact, it’s not actually human at all. It’s merely a place where humans happen to live…”

There is an angry snarl from the ceiling.

“…yeah, sorry…” the Editor corrects himself, jumping at the growl of his boss, “It’s a place where humans are allowed to live by kind permission of my client.”…

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A flying ship has plunged into a tall public building, causing panic.

Outside 10 Downing St., the media have been sat around for hours with their cameras trained on the closed black door, waiting for someone official to come out and hand them their version of events… which will, of course, be repeated verbatim as The Story. 

Luckily for these relentless seekers after truth, a politician comes out to give them a press conference.

“Our inspectors have searched the skies,” he tells the journalists, “and they have found massive weapons of destruction, capable of being deployed in 45 seconds.  We face extinction unless we strike first.”  He goes on to beg the UN for “an emergency resolution” which will give them permission to launch this pre-emptive strike.  His words are relayed on the TV news without comment… except by the Doctor and the other people watching.

As satire, this isn’t subtle.  It’s like a sledgehammer to crack a nut… because that’s what the WMD story always was: an easily cracked nut.  But in a world in which barely anyone in the global media is capable of cracking nuts even with a nutcracker, maybe it’s time to get out the sledgehammers… if only to make a sarcastic point.

As a satire of US/UK foreign policy in the wake of 9/11, it’s crude… but then US/UK foreign policy in the wake of 9/11 was crude.  It didn’t need to be anything else.  The media could be relied upon to discount the idea that respectable politicians in ‘democracies’ might have cynical or imperialistic motives.  They could be relied upon to train their cameras at closed doors.  They could be relied upon to accept the contents of press conferences as basic common sense, and then amplify those press conferences and call them The Story.

This is the aspect of RTD’s satire that is so often overlooked: what we might call ‘the Andrew Marr aspect’.  Marr did a cutesy little cameo in this episode, in which he stands outside 10 Dowing St., wittering about personalities and process, while the government within – which now comprises evil, sniggering babies hidden inside the fleshsuits of respectable, well-groomed, sincere professionals – plots mass murder in order to make a killing on fuel profits.  Again, about as subtle as the truth.

On April 9th 2003, as the invasion of Iraq proceeded, beginning a process which would lead to the takeover of Iraq’s economy and perhaps more than a million Iraqi deaths, Andrew Marr stood outside 10 Downing St. and said this:

Well, I think this does one thing – it draws a line under what, before the war, had been a period of… well, a faint air of pointlessness, almost, was hanging over Downing Street. There were all these slightly tawdry arguments and scandals. That is now history. Mr Blair is well aware that all his critics out there in the party and beyond aren’t going to thank him – because they’re only human – for being right when they’ve been wrong.

…

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Rose is exploring the space station, waiting for the end of the world.  Suddenly she encounters a young woman with blue skin, wearing overalls and hard at work.

Rose asks if she’s allowed to be where she is.  Her automatic response to officialdom of any kind is to question her own status.  For all her confidence, she’s a girl who lives on an estate and worked in a shop.

The young woman in overalls looks awkward.

“You have to give us permission to talk,” she says, nervously aware of the irony.

Rose is dumbfounded.  She realises that this woman looks upon her – Rose – as a high status person, someone before whom she must be humble.

“Er…” she says, embarassed, “you… have… permission?”  She inflects it as a question.  ‘Is that the right form of words that I’m using?’  There is embarassment in her voice, and a faint look of nausea on her face.  It makes me love her.

“Thank you,” says the woman, who’s name turns out to be Raffalo, “And, no, you’re not in the way. Guests are allowed anywhere.”

Rafallo turns out to be a plumber.  She addresses Rose respectfully as “Miss”.  Rose probably feels like a teacher.

“They still have plumbers?” says Rose, stating it to herself as much as asking a question.  Five billion years in the future and there are still grease monkeys in boiler suits, running around backstage, making sure the swells have plenty of hot water.

“I hope so,” says Rafallo, “else I’m out of a job.”

Just like Rose is out of a job now that, between the Autons and the Doctor, the shop where she worked got blown up.  Rose knows what unemployment means.

Rose says goodbye and, as she leaves, Rafallo thanks her “for the permission”.  

Rose has met one of the people in the background.  The people who make everything work.  One of the people the Doctor has never had much to do with until now.  But Rose would, because she was one of those people herself, until recently.  Now she’s travelling.  Rafallo will not be as lucky, despite being Rose’s mirror image.  Because the universe is shitty and unfair.  Still.  Rafallo is about to die because of the profiteering scheme of a rich, sociopathic bit of skin who also happens to be the last human being alive… if we allow that she’s still human at all (and that Rafallo somehow isn’t).

It’s a shame that Cassandra is the show’s first explicitly transgender character.  And it’s also a shame that we, the people of the universe, are depicted as still ridden by class in the year 5 Billion.  As Slavoj Žižek said:

Think about the strangeness of today’s situation. Thirty, forty years ago, we were still debating about what the future will be: communist, fascist, capitalist, whatever. Today, nobody even debates these issues. We all silently accept global capitalism is here to stay. On the other hand, we are obsessed with cosmic catastrophes: the whole life on earth disintegrating, because of some virus, because of an asteroid hitting the earth, and so on.

…

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The Third Way

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There is, in some quarters, an assumption about alternatives.  There is fannish continuity obsession on the one hand and, on the other hand, there is ‘the real story’ which tends to be to do with families and relationships.  To an extent, this is a straw man… but it sometimes exists, implicitly, even where it is abjured.  And it’s a false dichotomy.

There is a Third Way: the investigation of the relationship between the political implications of monster wars and the lives of ordinary people.

This is a Third Way that the classic series hardly ever engaged with.  In its own more ass-covery, fig-leafy way, this is something that the new series hardly ever engages with either.

Whereas the classic series concentrated on the monstrous, and then later upon the fan view of the monstrous, the new series tends to concentrate upon interpersonal relationships with monstrosity as a pretty backdrop.

The difference is that the classic series’ logic was pragmatic (i.e. we are making a show about monsters) whereas the new series’ logic is openly ideological (i.e. human family and romantic relationships are THE REAL STORY).  If you doubt that this is ideological, look at how it has been iterated again and again.  Look at ‘The Empty Child’, at ‘Father’s Day’, at ‘School Reunion’, at ‘Army of Ghosts / Doomsday’, at ‘Closing Time’, at ‘Night Terrors’.

Neither view is supportable but the former has at least the virtue of non-didacticism.  It’s a contrast to the aggressive apoliticism of so much of the new series, even when the new series dresses itself in the clothes of political engagement.

There is, fascinatingly, a similarity to the simplistic view of Blair as a villain.  It is the difference between a wishy-washy reformist liberal/leftyishism (“Blair has betrayed Labour”) and a faux-pragmatic panglossian acceptance (“he’s achieved modest things that were, realistically, all he could do”). 

There is a Third Way that is invisible to those leftists who complain either that he did what he could or that he didn’t do enough, precisely because it is based on the political relationship between personality and wider monstrosity. 

That, weirdly, is why the more RTD moved into an engagement with the problems of New Labour, the more he moved into an acceptance of its premises.  By the time of the uber-cynicism of ‘The Sound of Drums’ etc, he’d accepted that people are, essentially, horrible and Blair/Saxon is probably about what they deserve.…

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Reithian Values Meet ‘The 60s’…

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The old show was frequently highly reactionary but it also did better than most shows when it came to challenging establishment, bourgeois ideology and/or imperialist assumptions.

This division is the ‘ethos’. Frequently reactionary but with a proportionately greater tendency to buck this trend.

The hero of the show is a white male with a professional title, a line in Edwardian clothing (which retains a formality despite veering between scruffy, dandified, bohemian, etc.) and who travels around in a symbol of the British state. The odd Jacobite aside, his companions are usually thoroughly respectable types.

So, even when he takes a moral line against exploitation, it can seem like the civilized Englishman taking it upon himself to explain ethics to the barbarians.

However, while it may be possible to characterise this as an “overall or originating ethos” (as a poster at Gallibase put it) it’s one that has also been challenged from within.

At the start of the classic series, the Doctor is adamant that he cannot and must not intervene in history… including the religious practices of the Aztecs, a people destroyed by imperialism.

Then again, in that very same story, we also get a dose of condescension towards the Aztecs, portraying them as generally backward (i.e. “Autloc is the extraordinary man here!”) and suggesting that their religious practices will shock Cortés into attacking them. ‘The Crusade’ attempts a very sincere portrayal of Arabs as human beings… but also includes orientalist stereotypes.

When the first Doctor intervenes in the future history of aliens, etc., he very often takes a stance that seems very anti-imperialist, i.e. in ‘The Sensorites’. But, again, in that same story, the aliens are presented as encoded Asian stereotypes, and the human infiltrators are driven mad by their exposure to an inscrutable alien culture… which is pure colonialist self-pity.

But you also have to consider that, in the kind of fiction from which Who springs, the scientist figure, the lone inventor, was an ambiguous and untrustworthy figure who could not always be relied upon to toe the line. In Wells’ The Time Machine, the Time Traveller (clearly a forerunner of the Doctor) is explaining time travel to a group of friends when one of them imagines jumping forward in time to collect massive interest on a long-term investment… “…to arrive in a society run on strictly communistic lines perhaps?” suggests the Time Traveller.

All the same, the Doctor often assumes the right to intervene, which can seem imperialistic… but, having said that, the Doctor’s right to intervene does itself become the subject of some uncertainty within the show itself, several times. The Doctor has to justify himself to the Time Lords, firstly by claiming that power must be used to help those in need (and this in a story that forecloses on an imperialistic interpretation of that remark by being a forthright condemnation of imperialism), then by claiming during his second trial that he usually waits for a request for help from a local authority figure!

Times change and there was a shift in political discourse between the eras of the old and new shows.…

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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.…

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Veto Axons

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This is a round-up of my Timelash II stuff on Series 3… well, those bits of it that I haven’t already posted elsewhere.  The ‘Smith and Jones’ bit is a tweaked version of something from the old site.  There’s nothing about Axons in here, I just found myself amused by the anagram.

The Runaway Bride

The Doctor cold-bloodedly kills the Racnoss children… and the episode tries to have its cake and eat it by both giving the Doctor ‘no choice’ and implying that he ‘went too far’. The probably unintentional implication is that neocon logic is unpalatable but inescapable, that we need people who will ruthlessly kill on a massive scale in order to protect us from the forces of unreasoning hostility.

We’re a long way from “massive weapons of destruction” being a lie from a politician with an evil, greedy alien baby inside him. 

Smith and Jones

Russell reuses many of the ideas and techniques that made ‘Rose’ work as an introductory tale. There is a frenetic opening scene which introduces Martha, her family situation and her workplace. As in ‘Rose’, the new companion meets the Doctor at work and, as in ‘Rose’ he is already in the middle of an adventure. As in ‘Rose’, the Doctor and his new friend form an instant connection which takes the form of banter, intelligent co-operation in the midst of a crisis, lots of running and lots of holding hands. As in ‘Rose’, the new companion saves the Doctor’s life. As in ‘Rose’ we see her enter the TARDIS at night, in a London backstreet and immediately run out again in surprise (the only naturalistic way to portray a reaction to the TARDIS). Bits of the first Torchwood episode are reused too.

But there’s also a lot that’s different. Instead of beginning with the Doctor and showing us Martha from his P.O.V. or holding the Doctor in reserve and letting Martha encounter him at a moment of high drama (as in ‘Rose’), the episode instead allows him to pop up both after and before any of us were expecting to see him! Some of us might have thought he’d be in Scene One. Some of us, gulled by the opening scene’s echo of the structure of ‘Rose’, might have expected him to appear only when Martha needs rescuing from the Judoon. But instead he pops up when none of us were expecting him, does something entirely inexplicable, and then walks off.

Of course, it would have made sense to bring the Doctor in as soon as possible because the audience knows him whereas they don’t know Martha. But a pre-title sequence featuring the Doctor would destroy that Year Zero vibe that RTD is going for. For the moment, he wants us to feel like we’re beginning again. This is essential because he’s trying to make Martha – a brand new character in another character’s show – the central audience identification figure. Let’s pause for a moment to consider how incredibly difficult that is.…

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Childhood’s End

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Shabgraff does Series 1 of the revival.  It’s my blather from Timelash II, plus a little new stuff.  (I may do something separate about ‘The End of the World’ at some point.)  This is about a series which works because its about a young woman growing up.  I feel like I’ve grown up too, in a sense, since 2005… which is why my opinions about Series 1 have drastically changed since first viewing.

Rose

I have never been able to entirely make up my mind about this.

The characterisation is glib, sneering at ditzy blonde ‘chavvy’ people who say silly things about making legal claims and flirt with anything in sight, etc (admittedly, this improves later in the series)… not to mention having a LAD character who is OBSESSED WITH FOOTBALL (as are all men, obviously), probably looks at porn on the internet and is stupid (this doesn’t improve ever… though, in fairness to RTD’s writing, it might’ve helped if they’d cast somebody who could act, even just a little bit).

There are things about it that are puzzlingly wrong… just off somehow… like the way Rose calls for a lone store caretaker (!) and calls him “Wilson”, as though he’s an underfootman or something. Huh?

Plus, the music is absolutely awful. And about half the comedy bombs. I know we’re all supposed to look down our more-sophisticated-and-ironic-than-thou noses at people who hate the wheelie bin… but it’s still stupid.

There are some great things in it, however. They whole idea of the Autons being the first monster in the new series is inspired… and they’re quite well done… though, obviously, the priority was to use monsters that were on Earth in the present day, i.e. to make the initial setting as inoffensive to sneery meedja types as possible.

This really is the underlying logic of the whole episode: appease the meedja. Look meedja, it’s a “serious” actor… and he’s not wearing anything naff, he’s wearing a leather jacket, etc. Look meedja, a pop star/lad’s mag companion! Look meedja, London (the only place people like you think fucking exists).

Luckily there’s enough magic in the TARDIS and the Autons and Chris (who’s miscast but good anyway) and the excellent Billie Piper (who will be the unexpected jewel of the first series) to make the whole thing watchable and, often, fun.

Oh, and the ferocious, unrelenting, slavering meedja hype helped too, I imagine.

There’s a germ of something interesting in the Doctor’s appearance as a lone bomber (soon junked)… and the geeky internet bloke who’s somewhere between an obsessed fan, a conspiracy theorist and a cultural dissident.  It suggests a support for the uncool, the obsessional, the underground that strangely belies the meedja-pleasing and brand-resurrecting surface priorities on display.

The Autons retain their original charge as emblems of commodity fetishism… products become autonomous and threatening because they represent alienated labour.  Rose’s status as a wage slave only emphasises these undertones, as does the Doctor’s reference to a “price war” and the Auton’s imperialistic lust for our plastic (oil).…

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Three Act Tragedy

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And so it came to pass that Series 3 ended with a trilogy.  And Jack looked upon the trilogy.  And Jack saw that it was… umm… er…

‘Utopia’

Good stuff; the Master’s return at the end is the least of it.  We have to put up with some of the obligatory “gee, aren’t humans just neat?!” stuff from the Doctor, but it passes soon enough. Yana is a touching, melancholic figure. Chantho is one of my favourite characters in all Who. The scene where the Doctor and Jack finally discuss Jack’s immortality is beautifully scripted and acted. The desolated conglomeration is beautiful.

The whole set up is pregnant with intricate, sombre, uncomfortable implications. At the end of everything, with even the galaxies disappearing… amidst a wasteland, haunted by a dead city and one lone survivor (who still clings to her obsolete cultural norms)… amidst all these things, there are two groups of humans… the unreasoningly fierce and cruel “futurekind”, with their gnashing sharp teeth, their flaming torches and their mindless desire to destroy… and the refugees who huddle together for warmth; who value family and friendship; who have created structure and purpose out of bits of scrap, food and dreams of impossible deliverance… and the Futurekind want to smash these aspirations for no real reason, while the refugees keep building even as they near the point of maximum entropy.

This is ‘Gridlock’ part II… but it’s less comfortable than ‘Gridlock’.  More bleak.  More gloomy.  More fully liberal.  Hence, more reactionary.

The faith of the refugees is in a better world, like the faith of the gridlockers… but they refugees have given it a name that has political rather than religious associations. ‘Utopia’ is usually thought of now as representing some age-old impossible dream of social perfection and total human equality.  In the mainstream discourse, to be Utopian is to share the putative mistakes and delusions of the founders of the 20th century totalitarians. Lenin wanted to make a paradise; that’s why he ended up making Hell on Earth. (This isn’t my view, by the way. It is as simplistic and ahistorical as it is popular.)

‘Utopia’ is one of those stories that I love despite the fact that it’s highly open to a reactionary reading (like ‘Frontios’ for example, with which it shares some ideas).

In ‘Utopia’, the supposed dual nature of humanity is externalised in the form of two seperate tribes (who fight for no reason, as tribes always do in this view of the world), one of which is ‘civilised’ and one of which is ‘barbarous’ for no real reason. There is no reconciling this ‘clash of civilisations’. The nice people, who are associated in the text with science, technology, modernity, family life, democracy (via the concept of Utopia itself), must fight and/or escape the barbarians (with their medieval ways)… or be destroyed.

In the end, they simply have to leave the Futurekind behind (to die) as they blast off in search of Utopia. At least this story holds out some hope that Utopia (i.e.…

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