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You Were Expecting Someone Else: Marcelo Camargo

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This post exists because my Patreon crossed the $310 mark. It’s currently at $318.50, exactly $6.50 away from another bonus post like this on “Night of the Doctor,” which will otherwise wait until the McGann/Eccleston book to be written. You can pledge to help make that happen here.

To recap, in early July 2014 it emerged that a server at a BBC Worldwide had been improperly secured, and that scripts for the first five episodes of Season Eight had leaked. A few days later it became clear that the leak was worse than it had initially appeared as a workprint of Deep Breath also appeared on torrent sites, followed, over the course of the next month and a half, by workprints of Into the Dalek, Robot of Sherwood, Listen, and Time Heist. The files had been prepared for a Brazil-based subtitling company called Drei Marc, and specifically for a gentleman named Marcelo Camargo who, despite having absolutely nothing to do with the leak itself, became the name most associated with it.
 
The first thing to say is both obvious and controversial: it was fine. For all the talk of the leak being “embarrassing” for both Doctor Who and the BBC, there were no meaningful negative consequences. All five leaked episodes performed just fine, both critically and in the ratings. Just like the leak of Rose didn’t hurt anything (and indeed probably helped the series, as the diehard fans hashed out all their arguments over it in advance). Indeed, the truth is that it’s tough to think of any instance where a pre-release leak to torrent sites actually caused any damage. It’s to the point where it’s widely believed that the recent leak of the Supergirl pilot was deliberate on CBS’s part. 
 
No, that’s not the same as saying that leaks can’t hurt shows. Certainly it helps that the five leaked episodes were actually good. It’s hard to hurt good material by letting people see it. Had Capaldi completely bombed in the part such that the buzz around the screener copies was negative it would have been a very different situation. But these were five episodes of television that ranged from the quite good to the excellent, and even with unfinished effects and dodgy musical cues their basic quality was evident.
 
And yes, I suppose at this point I may as well admit that I watched them at the time, especially as Moffat has admitted that he would have watched them. I don’t mean this revelation to indicate some larger ethical principle, to be clear. I just couldn’t resist. My wife and I were nearly a year into a running joke of saying “guess what” with the answer being a very emphatic and happy “Peter Capaldi,” with every syllable emphasized. I was dying to see the new Doctor. So I caved. Lasted a solid week or two after Deep Breath leaked, and avoided the scripts entirely, as what I was interested in was the performance, not the plot, but I caved eventually.
…

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Comics Reviews (May 26th, 2015)

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Uncanny Avengers: Ultron Forever #1

Not a week where being at the bottom of the list is a commentary on much beyond how good the list is. Ewing is going for raw silliness here, and the pleasure of this book is unabashedly in using the deep history of Marvel Comics to put together a plot that is at once a riff on Age of Ultron and firmly a celebration of the greater weirdness of Marvel comics. It’s fluffy, and I suspect $15 was a bit high for the entirety of this story, but it’s terribly fun.

The Infinity Gauntlet #1

Interesting, and a comic that introduces some characters you really hope will stick around past the crossover. I liked Duggan’s issue of The Black Vortex more than most of that arc, and was enthused to check him out on a riff on the first big Marvel story I ever read, but this doesn’t quite scratch that itch, and what’s introduced instead – a very nice riff on the idea of child heroes and responsibility – isn’t quite defined enough to grab me. Still, I’m apparently pulling this, and I may well forget to drop it. Worth checking out, but a book that has the misfortune of coming while I’m trying to pare my pulls.

Where Monsters Dwell #1

Garth Ennis being silly. He’s very good at this sort of comedy, but it’s a slender thing, and I kind of suspect I should drop it and add War Stories from Avatar.

Chew #49

A good issue, which is a good sign as we move into the last year of this book. The boil has long since gone off this for me, but I remain vaguely optimistic that it will stick the landing and not make me feel bad for pulling it for the last two years of its run. Quite liked Olive and Tony’s reunion. Olive is by some margin the best thing going in this book.

Old Man Logan #1

A Frank Miller riff, but in a nice, technical sense of playing with his sense of craft rather than his more overbearing aspects. I was kind of expecting the worst out of this book, as I find Sorrentino’s art, though moody, tough to follow, but it kept things going well, with a nice Western noir feel and a surprising level of Secret Wars meatiness. The final image is terribly promising.

Uber #25

A side trip that depends on a better memory of the overall state of play than I have, and thus something of a slender thing for me, but also the sort of worldbuilding whose existence is part of the point of Uber, a comic that’s obviously going to reward a reread when it’s done. Or possibly in two months when it takes a mid-run break prior to a big 2016 relaunch.

Providence #1

This is marketed as the Watchmen of H.P. Lovecraft, but to any Moore connoisseur it’s clearly intended to be the From Hell of Lovecraft, and like From Hell, it opens with a slow burn, with pieces put on the board according to a logic that is as of yet far from clear.…

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“Men Who Hate Women”: In Theory

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Oh no, not again.

I have to filet another Star Trek: The Next Generation sacred cow tonight. I hate doing this. But this one’s time is long, long overdue, ’cause “In Theory” is bad. Really bad. How bad? Well, in terms of gender, this is right down there in the same league as “Reunion”.

I’ll let writer Ronald D. Moore explain himself in his own words.

“I loved the notion of Data involved with a woman who fell in love with him because it was sort of a callback to when The Original Series was on. There were so many women who were in love with Spock. So much of Leonard Nimoy’s fan mail was from women, women who were falling in love with this remote, inaccessible character with the idea that ‘I could touch his heart-I could get to Spock like no one else.’ I was fascinated by that aspect of fandom. So I thought, well, what if we did that with Data and there was a woman who fell in love with a man who literally doesn’t have a heart, who could not give her something emotional. I wanted to see that relationship crash on the rocks. I wanted to see the moment when she realizes that he really can’t give back to her what she wants.”

The mean-spirited cynicism is self-evident. It always is with Moore. Like his compatriot Ira Steven Behr, that’s a signature of his. But the sheer, stupefying extent to which Moore is off the mark here is so galling I don’t even have the words to properly convey it, and what it reveals about how much Star Trek creators truly understand their fanbase and the history of their own damn show is absolutely frightening. Moore has essentially penned a 45-minute up-yours to the heart and soul of Star Trek and science fiction fandom and delivered one of the most inexcusably and hurtfully misogynistic sentiments this side of his precious Original Series. Jenna D’Sora is every single bro-ish stereotype of “clingy bitches” rolled into one: She’s vapid, shallow, air-headed and programatically dedicated to a man who doesn’t care about her in the face of all sense and reason. She’s even “on the rebound”. And she, and by extension this entire fucking episode, exists for no other reason than to bully and ostracize Star Trek’s original and most loyal fans.

That Moore’s conception of Star Trek fandom (I refuse to use the phrase “female fandom” because in the 1960s and 1970s women were the only fans of any consequence Star Trek fucking had) is blindingly ahistorical goes without saying. Those women who Moore would be so quick to belittle and infantilize were the young people of the 1960s that Star Trek inspired and who worked hard to make sure it had enough episodes to become syndicated, thus guaranteeing it a legacy and a life beyond its pathetic initial network run on NBC.…

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A Brief Treatise on the Rules of Thrones 2.01: The North Remembers

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Brought to you by my backers on Patreon.

State of Play
The choir goes off. The board is laid out thusly:
Lions of King’s Landing: Tyrion Lannister, Cersei Lannister
The Lion, Jaime Lannister 
The Direwolves, Catelyn Stark, Robb Stark
Dragons of the Dothraki Sea: Daenerys Targaryen,
Mockingbirds of King’s Landing: Petyr Baelish
Bears of the Dothraki Sea: Jorah Mormont
Direwolves of the Wall: Jon Snow
Ships of Dragonstone: Davos Seaworth
Direwolves of Winterfell: Brandon Stark
Direwolves of King’s Landing: Sansa Stark
The Direwolf, Arya Stark
The Kraken, Theon Greyjoy
Archers of the Wall: Samwell Tarly
Stags of King’s Landing: Joffrey Baratheon
Dogs of King’s Landing: Sandor Clegane
Burning Hearts of Dragonstone: Stannis Baratheon, Mellisandre
Bears of the Wall: Jeor Mormont
Chains of King’s Landing: Bronn
Spiders of King’s Landing: Varys
Flowers of King’s Landing: Shae
The episode is in ten parts. The first runs eight minutes and is set in King’s Landing. The opening image is of the Hound fighting another armored man. 
The second runs four minutes and is set in Winterfell. The transition is by dialogue, from Tyrion and Cersei talking about the Starks to Bran. 
The third runs four minutes and is set in the Red Waste, east of the Dothraki Sea. The transition is by dialogue, from Bran and Osha talking about dragons to Daenerys and her dragons, and by red comet. 
The fourth runs six minutes and is set at Craster’s Keep, north of the Wall. The transition is by family, from Daenerys Targaryen to Jon Snow, and by red comet.
The fifth runs seven minutes and is set on Dragonstone. The transition is by red comet. At the episode’s halfway point, Stannis is being crowned the Prince that Was Promised as he is reborn amidst salt and smoke in the creation of Lightbringer.
The sixth runs three minutes and is set in the Stark camp in the Riverlands. The transition is by image, from the flickering fire behind Melisandre to the fires in the Stark camp, and by dialogue, with both Robb Stark and Jaime Lannister being discussed at Stannis Baratheon’s small council meeting.
The seventh runs five minutes and is in sections; it is set in King’s Landing. The first section is two minutes long; the transition is by family, from Jaime Lannister to Tyrion. The second section is three minutes long; the transition is by family, from Tyrion Lannister to Cersei. 
The eighth part runs five minutes and is set in the Stark camp in the Riverlands; the transition is by family, from Cersei to Alton Lannister.
The ninth runs five minutes and is in sections; it is set in King’s Landing. The first section is two minutes long; the transition is by hard cut, from Catelyn Stark to Cersei walking into the throne room. The second section is two minutes long. The transition is by hard cut, from Cersei to prostitutes having sex, and by consequence, from Joffrey ordering the death of Robert Baratheon’s bastards to one being killed in the brothel.
…

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“I’ve never seen a rainbow”: Galaxy’s Child, Identity Crisis, The Mind’s Eye

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Poor Geordi La Forge.

I have no idea what it is about the Starship Enterprise‘s chief engineer, but absolutely nobody seems comfortable with writing for him or even has any real idea who he is. Michael Piller’s big contribution to fleshing out Geordi’s character was turning him into an insecure mechanophile who didn’t know how to act around women, Ira Steven Behr thinks he should be eaten by Klingons and even René Echevarria mentioned he had no idea what Geordi and Beverly Crusher would have to talk about to each other as an example of how hard he found it to write for the Star Trek: The Next Generation characters. Only Deanna Troi elicits a comparable level of writer’s block and despair amongst Star Trek creator types, and even she’s had “Night Terrors” and bits of “Half a Life” by this point.

So it really is fitting one member of this trio is entitled “Identity Crisis”, because that’s what it feels like Geordi is going through. And not just him, but Star Trek: The Next Generation too-Recall that while we’ve seen some strong stuff in the past few weeks, we’re still very early on in the show’s Mark II phase and it’s still finding its footing to some extent. That process won’t be complete until we enter the summer hiatus. But as for poor Geordi, it really does feel like the creative team has absolutely no idea what to do with him here: Instead of looking at the role he plays on the Enterprise and his relationships with the other members of the crew, the episode invents backstory for him, is primarily interested in creating the person he used to be instead of who he is now and tries to tell a story in the past tense (unlike what the show did with Captain Picard in “The Battle” where the Stargazer backstory was firmly in the past, here the Victory stuff has real material bearing on the plot). Also, it turns Geordi into a 1980s version of the aliens from Raumpatrouille Orion.

The other episodes in this set aren’t especially better. “The Mind’s Eye” is the most obviously offensive, being a rote, boring “Shocking Betrayal!” Manchurian Candidate ripoff. It’s an unimaginative and stock “Let’s Do” plot well beyond the point at which we should have learned that these don’t work, and the treatment of Geordi is absolutely horrific: Let’s take his visor, which was designed to facilitate an empowering portrayal of blind people, and turn it into a security risk by treating it like a computer in a thriller movie you can hack and make it do whatever you want. On top of that, it renders Geordi subservient to the by this point entirely and unnecessarily overblown Worf/Mogh/Duras discommendation story arc. The one bit of partial credit I suppose I could give this episode is that Commander Sela is in it, but she really doesn’t need to be in this episode.…

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The Gift

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State of Play

The choir goes off. The board is laid out thusly:

Lions of Meereen: Tyrion Lannister
Lions of Dorne: Jaime Lannister
Lions of King’s Landing: Cersei Lannister
Dragons of Meereen: Daenerys Targaryen
Direwolves of the Wall: Jon Snow
Mockingbirds of King’s Landing: Petyr Baelish
Roses of King’s Landing: Margaery Tyrell
The Burning Hearts, Stannis Baratheon and Mellisandre
The Ship, Davos Seaworth
Archers of the Wall: Samwell Tarly
Paws of the Wall: Tormund Giantsbane
Flowers of the Wall: Gilly
Stags of King’s Landing: Tommen Baratheon
Kraken of Winterfell: Reek
Direwolves of Winterfell: Sansa Stark
Flayed Men of Winterfell: Ramsey Bolton
Shields of Winterfell: Brienne of Tarth
Chains of Dorne: Bronn
Swords of Meereen: Dario Noharis
With the Bear of Meereen, Jorah Mormont.

Braavos is abandoned.

The episode is in twelve parts. The first is three minutes long and is set at the Wall. The opening image is of a horse.

The second is three minutes long and is set in Winterfell. The transition is by hard cut, from a reaction shot of Gilly to an establishing shot of the hall outside Sansa’s room.

The third is three minutes long and is set at the Wall. The transition is by image, from Brienne watching for a candle in the window to candles lit around Maester Aemon’s deathbed. It features the death of Aemon Targaryen, who dies of old age.

The fourth is four minutes long and is set in Winterfell. The transition is by image, from snow falling over Maester Aemon’s funeral pyre to snow falling on the battlements at Winterfell.

The fifth is four minutes long and is set on the road between Winterfell and the Wall. The transition is by image, of snow falling, and by dialogue, from Ramsey talking about Stannis in the winter to Stannis’s camp in the winter.

The sixth is six minutes long and is set at the Wall. The transition is by hard cut, from Stannis to Gilly tending a fire.

The seventh is five minutes long and is in two sections; it is set in Meereen. The first section is three minutes long; the transition is by hard cut, from Sam and Gilly having sex to slaves being marched. The other is two minutes long; the transition is by hard cut, from Tyrion to Daenerys and Dario in bed.

The eighth part is seven minutes long and is in two sections; it is set in King’s Landing. The first section is four minutes long; the transition is by hard cut, from Daenerys to an establishing shot of the Great Sept of Baelor. The second is three minutes long; the transition is by dialogue, from Oleanna talking about Margaery to Tommen and Cersei doing the same.

The ninth part is five minutes long and is in two sectionsl it is set in Dorne. The first section is one minute long; the transition is by family, from Cersei and Tommen to Jaime and Myrcella. The second section is four minutes long; the transition is by image, from Jaime standing in front of a window to a window in the prison.…

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Saturday Waffling (May 23rd, 2015)

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Let’s see. Got the edits back on the first two seasons of Eruditorum 6. About 3-4000 words from the end of Book One of Last War in Albion. Logopolis books will finally go out Wednesday.

Several unrelated things kicking around that I’d love to find time for, but I’m not quite sure where that time would go right now.

“Unbowed, Unbent, Unbroken” is still very much on my mind right now, and rather making moving on to A Brief Treatise on the Rules of Thrones 2.x a bit of a sour experience. I’d been going to roll out a new feature on the GoT reviews for the back half of the season in which I made next episode predictions, and was left in far too foul a mood after that episode to do it. But anyway, here’s predictions for “The Gift,” based on officially released HBO material and the books.

It looks like we have the Wall, Winterfell, Dorne, King’s Landing, and Meereen up this episode, but no Braavos.

The Wall: Probably where the episode’s title comes from. Jon Snow will commence the rescue mission of the Wildlings at Hardhome. Dissent in the ranks will continue. This looks straightforward.

King’s Landing: The arc here is clearly that Oleanna is going to throw Cersei in the path of the High Sparrow as well, with Lancel providing evidence of her crimes. Whether Oleanna will enact that plan this episode, or merely fail at talking Margery out out of jail is unclear. I’ll bet on her enacting it, though.

Winterfell The presence of snow and the repeated talk of “the snows starting” suggest we are going to do a variation of the plot in which Stannis gets bogged down in a snowstorm. But I think we’ll be in the early stages of that here. As for Sansa, my guess is that she’s going to be a functional prisoner, but that she’s going to get Theon to signal for Brienne. I hope this plot advances pretty far, obviously. It’s perfectly plausible that Ramsey is going to die this episode.

Dorne: Tricky, as Jaime’s presence now prevents most of the obvious plot arcs. I’ve seen speculation of Bronn being poisoned. Could happen. All we know for certain is that Jaime and Myrcella are going to have a chat. It’s entirely possible that’s all there will be; they’ve hardly been putting Dorne at the forefront of the plot, and there’s not necessarily a lot more to do with it either. Really all that’s guaranteed is a big Doran scene in the next four episodes.

Meereen: By far the hardest to predict. It wasn’t clear Daenerys was in it until some publicity photos emerged. All we have to go on is that Daenerys is in it, and a trailer shot of Tyrion (looks like indoors, but in theory could be on a ship). This could be a straight plate-spin. Obviously we’re building to a Tyrion/Jorah/Daenerys/Drogo collision, but as with Winterfell and Dorne, it’s very hard to tell how far we’ll go in this episode.…

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It’s All True (The Last War in Albion Part 97: Nightjar, Sinister Ducks)

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This is the ninth of eleven parts of The Last War in Albion Chapter Ten, focusing on Alan Moore’s Bojeffries Saga. An omnibus of all eleven parts is available on Smashwords. If you are a Kickstarter backer or a Patreon backer at $2 or higher per week, instructions on how to get your complimentary copy have been sent to you.

The Bojeffries Saga is available in a collected edition that can be purchased in the US or in the UK.

Previously in The Last War in Albion: Alan Moore was particularly passionate about his handful of collaborations with Bryan Talbot. But his major effort at collaborating with Talbot, a strip to be called Nightjar and be published in Warrior, was never completed.

“The world must be warned about those ducks. It’s all true.” -Translucia Baboon, quoted by Neil Gaiman
Figure 776: The opening to Nightjar, unpublished for
twenty years. (Written by Alan Moore, art by Bryan
Talbot c. 1983, published in Yuggoth Cultures #1, 2003)
Nightjar ultimately became a casualty of Moore’s falling out with Dez Skinn, who, for his part, insists that he “was never very keen on Nightjar (hated the name) and Bryan was another slow – or busy – artist, so it would never have happened in Warrior.” Talbot ultimately only completed two and a half pages of the strip, with another page partially completed, but roughly twenty years after Talbot had started the page,  William Christensen at Avatar got in touch and asked if he still had the unfinished pages. Talbot did, and Christensen proceeded to commission Talbot to finish the strip, reprinting it along with the script and Moore’s letter to Talbot about the development of it in the first issue of the anthology Yuggoth Cultures, collecting various Moore obscurities with newly commissioned adaptations of some of his poems and song lyrics.
Figure 777: The seven villainous sorcerers
who killed Mirrigan’s father. (Written by
Alan Moore c. 1983, art by Bryan Talbot,
from “Nightjar” in Yuggoth Cultures #1, 2003)
The resulting strip is a straightforward thing – mainly a slab of exposition that starts with ten-year-old girl watching her father die, a death that Moore, in typically florid captions, describes as “a dirty death, stumbling and falling amidst the yellow grass and rusted pram wheels, eyes rolling, white foam flecked on blackening lips” as a man the audience is told is the Emperor of all the Birds is “murdered by sorcerers.” The strip then cuts eighteen years later as the girl, Mirrigan Demdyke, receives a lecture from her dying grandmother (memorably depicted by Talbot as an old woman with her eyes sewn shut), who explains that her father was not killed fairly under the rules of magic, as he was not killed by a single opponent, but by a cabal of seven sorcerers conspiring against him. Outraged by this travesty, Mirrigan swears that she will kill the seven, who are introduced at patient length by her grandfather, starting with “Hart Wentworth, whose soul is like a monstrous slug, crusted with sapphires, thrashing contentedly in the tarpit of his own vileness” and ending with Sir Eric Blason, the new Emperor of all the Birds, who Moore leaves relatively undescribed in the comic, but notes in the script is “a member of parliament” with “power on a level that drug-addled ninnies like you and I can scarcely conceive.” 
…

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“When you think you love someone, you love them”: The Host

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For some reason I’ve always taken “Half a Life” and “The Host” together: The two well-remembered big dramatic doomed love stories from the back of the fourth season brought to you by the letter H. They’re also the two episodes I was the most apathetic about revisiting from this filming block, as I didn’t have especially fond memories of the pair. I was completely mistaken in the case of “Half a Life”, which I now consider to be a definite highlight of the fourth season.

It turns out that if I had any reservations about this diptych at all, it was entirely thanks to “The Host”. This is another one that I’m afraid I can’t redeem in the slightest.

In the history of Star Trek: The Next Generation, there are three infamous scripts whose clumsy handling of gender and sexuality, along with their general ineptitude, are directly responsible for saddling the series with a reputation of heteronormativity and homophobia. The first was the titanic piece of shit that was “Blood and Fire”: Although the show was able to dodge that particular bullet, so cavernous was the yawning expanse of its suckitude that it somehow managed to bend reality such that it makes Star Trek: The Next Generation look homophobic in every potential universe regardless of whether or not it physically exists in them. The third is a deeply unfortunate car crash of an episode we’ll look at next season that at least has a strangled redemptive reading you can tease out of it. The second is “The Host”, and this time the show has no goddamn excuse.

This isn’t to say the initial concept isn’t worthwhile or influential. The Trill of course go on to be a major, major species in the Star Trek universe (though for a number of reasons they eventually end up having nothing to do with the way Ambassador Odan is depicted here) and they open up a genuinely compelling set of storytelling possibilities. However, that’s all due to what Terry Farrell and Jadzia Dax establish on Star Trek: Deep Space Nine-The rhetorical logic behind Ambassador Odan’s role in this episode is surprisingly prosaic and unambitious. The point of the Trill in “The Host” is to set up a very stock and boring moral about how “it’s what’s on the inside that counts”. The person Doctor Crusher is in love with is the symbiote, not the hunky guy it lives in. The idea being, as director Marvin Rush explained it, “if your beloved turned into a cockroach, could you love a cockroach?”

Which makes it all the more inexplicable that, in what is quite possibly the single most ethically bankrupt and ill-fitting conclusion in all of Star Trek: The Next Generation, “The Host” ends by having Beverly break off the relationship with Odan’s next host, a woman, because it’s “too complicated”. There is, of course, the obvious homophobia. Rush and the writing staff vehemently deny that they were intending to pass judgment on homosexuality and that this wasn’t even a place they were meaning to go and that the episode isn’t about that.…

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Sans Everything

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Spoilers & Triggers

So, Sansa and Ramsey.

Well, it was totally necessary because it shows rape is bad, which we didn’t already know…

Oh, hang on, we did.

Well, some people don’t understand how bad rape is, and this’ll make them see that they were wrong…

Oh no, hang on, it proably won’t.

Well, it was necessary for the plot.

Er… no.  And even if it had been, plots are things people make, not things that grow by themselves.

But it was in the book, wasn’t it?

Um… no, it wasn’t.  In fact they had to rewrite the storyline from the books quite extensively to make it possible.  And even if it had been in the book, that wouldn’t bind them to include it.

But at least it was germaine to the text, like the rape scene in, say, The Accused…

Umm… except that this is a show about dragons and magic in a fairytale kingdom.

But at least it shows the horrors of the treatment of women in the middle ages…

Except that this show isn’t set in the middle ages in the real world…

But, being set in a fictionalised version of the middle ages, the show has a mandate to cover medieval misogyny…

Um, no.  Not necessarily.

Well, at least it’s broaching a topic it’s been silent about up until now?

Except that it hasn’t been.  In fact, it’s looked at violence against women, sexual or otherwise, in what some might say is pitilessly and cynically unnecessary depth and detail.

But it handled it tastefully and unsensationally and in a way that nobody could possibly get off on watching in any kind of creepy, woman-hating way…

Um…

But it at least advanced the characters’ progress towards… er…

Well, at least it told us stuff we didn’t know about the characters, like Ramsey’s a sadist and a misogynist, and Sansa can put up with cruel treatment.

Um…

Well, it’s good for headlines and ratings, so that justifies it.  I guess.

Er…

Well, it was edgy.  ZOMG, they are so hardcore and dark, man.  Yay for them.…

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