Eruditorum Press

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Time Can Be Rewritten 18 (Spare Parts)

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I somewhat adamantly refused to cover the Big Finish line on this blog before this post, simply because I felt like I should start with a “proper” Big Finish audio from their most distinguished line. The Hartnell book has a Companion Chronicles entry in it, and the Troughton, Pertwee, and Baker books will also have Big Finish bonus entries (The Prison in Space, Find and Replace, and Destination: Nerva, most likely). But in terms of the blog, this is where Big Finish enters. So I suppose we should do the ticky box business of explaining what I’m on about before we get to the fun stuff.

Big Finish are the crowning achievement of the professional fan industry – a bunch of people so good at fan-made Doctor Who audios and audio adaptations of some of the Virgin books that they managed to secure a license in 1999 to do original Doctor Who audios. This is important in several regards. First, it led to a considerably muddier sense of what current Doctor Who was in the half-decade before the return of the series. During the Virgin era there was one official continuation of Doctor Who – the New Adventures. You could love them or hate them, but they were the quasi-official Doctor Who. Their replacement with the BBC Books line was controversial enough in its own right, but the fact that the BBC Books line took a turn into the massively controversial a year after Big Finish started and that six months later Big Finish began its own line of 8th Doctor stories meant that for the bulk of the McGann years there were two barely compatible versions of “new Doctor Who” being made.

Second, like the Virgin books Big Finish has had visible impact on the new series. Two stories – Rob Shearman’s Jubilee and this one – were consciously adapted into television stories. Big Finish staff have worked on the program (more about this in a moment), and, perhaps most impressively, Big Finish have managed to retain the rights to produce audios to this day. (Part of this latter point is a genuinely touching bit of public service. Big Finish in effect provides a retirement home for former Doctor Who actors. Its creative merits aside – and there are, in fact, many creative merits – the fact that it gives a modest paycheck to a large number of people who have contributed substantially to Doctor Who, and that it does this by giving them creative work instead of putting them on exhibit in convention halls, is a genuinely good thing.) The Big Finish line is genuinely important to the story of Doctor Who – you simply can’t cover the beginnings of the new series without also stopping off and talking about things like Jubilee and, well, Spare Parts.

Right. Intro material sorted, into the good stuff. The first and most striking thing, when listening to Spare Parts, is how maddeningly possible it is. Marc Platt wrote for Doctor Who just seven years after the period we’re talking about.…

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In the DNA

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Happy birthday Douglas Noel Adams.  Shame about you dying, but still.

I hear there’s a new TV series based on Dirk Gently.  I haven’t watched it.  With is odd.  If someone had told me, even ten years ago, that there would one day be a Dirk Gently TV show and I wouldn’t watch it, I’d have thought they were insane.

But look at this.

That’s Dirk, apparently.

Funny.  It reminds me of something.

Oh yeah.

In the novels, Dirk is described as fat, ugly and toadlike with a wildly mismatched clothes, a long leather coat and a ludicrous red hat.

Still, that wouldn’t make good telly, would it?

Adams was, in his way, as concerned with entropy as Bidmead.  He even has Skagra mention it in ‘Shada’.  Entropy, of course, is the shuffling of everything into predictability.  The ultimate terminus of increasing entropy is the reduction of all things to homogeneous porridge.

Just saying.

Adams himself was very concerned with the corporate crapization of everything into synthetic banality.  It’s a running concern of the Hitch Hikers books, from the Sirius Cybernetics Corporation to Infinidim Enterprises.

Funny thing is, if you were going to do Dirk as he’s written, you’d probably end up with something not entirely unlike this.

Damn that Nutrimatic Drinks Dispenser.

Pudgy, loud, obnoxious, loquacious, domineering, tasteless, grumpy.  Just add chain-smoking, pizza-addiction, slovenliness and a tendency to con rich old ladies.

Adams was sometimes very influenced by Doctor Who.  For instance, the cricket-commentator stuff in Life, the Universe and Everything is highly reminiscent of similar scenes in ‘Volcano’ (but funny) and Arthur Dent even finds himself faced with a gigantic stone image of himself on an alien planet in the second series of the Hitch-Hikers radio show, just a few years after pretty much the same thing happened to the Doctor.

I’m not accusing Adams of plagiarism, you understand, just of having been influenced… and no writer can work without influences.  Indeed, one view of writing is that it consists of the shuffling around and misinterpretation of what other people have already done in some way or another.  Nothing wrong with that.  And Adams was one of the most brilliant comic writers who ever lived, so….

But I’ve often wondered if the Sixth Doctor bequeathed a little something of himself to Dirk.  Was Adams watching the show in 1985-6?  The first Dirk book came out in ’87.

Perhaps its just the elision that I created in my own mind when reading the Dirk Gently novels as a teenager.

In any case, happy posthumous birthday Douglas.  Thank you for ‘Pirate Planet’ – a deceptively angry story about imperialism and the cost of prosperity – and for co-writing ‘City of Death’.  Sorry about what they did in that fucking film.  And sorry about that Artemis Fowl  bloke pissing on your grave while lighting cigars with banknotes.  And thanks for creating an award for The Most Gratuitous Use of the Word Fuck in a Serious Screenplay.  I remember reading that at about the age of 16 and laughing so much I nearly suffocated.…

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Our Mode of Conveyance is Irrelevant (Time-Flight)

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Welcome to Longleat, Mr. Davison.

It’s March 22nd, 1982. The Goombay Dance Band are at number one with “Seven Tears,” and stay there all story. Derek and the Dominos, ABC, and Bucks Fizz also chart. Lower in the charts are Flock of Seagulls with “I Ran” and U2 with “A Celebration.” While in real news, the Vietnam Veterans Memorial has a groundbreaking ceremony. In less American news, the Canada Act passes the British Parliament, giving Canada the power to amend their own constitution instead of having to ask Britain to do it. In similarly partially-UK news, Chariots of Fire wins Best Picture at the Academy Awards, beating Raiders of the Lost Ark. Time Bandits, in hindsight the actual best film of 1981, was not nominated.

But for me it’s about a decade over, and we’re on scratchy VHS tapes from PBS again. Because Time-Flight was my first Peter Davison story, and one of the earliest Doctor Who stories I ever watched. Which sets up an interesting situation. Time-Flight is, after all, absolutely hated. Apparently the worst story of the Davison era by some margin, and the fifth worst of all time if the Mighty 200 poll is to be believed, which, of course, it isn’t.

One of the nice things about watching Doctor Who as a child with only the Peter Haining book to go by is that you simply don’t know things like that, though. I could, as a child, identify broad eras of Doctor Who that I didn’t care for as much as others, but even the Pertwee era, the one I actively liked least as a child, was fun. I was disappointed whenever a tape turned out to be Pertwee stories, but I still eagerly watched the whole thing. The idea that there were crappy Doctor Who stories isn’t one occurred to me until much later in life, specifically when I discovered that this story and the next were widely hated. So when I watched this as a child I didn’t hate it. It didn’t occur to me to hate it. It was Doctor Who. I liked Doctor Who. So I liked it.

To some extent, of course, there is an immature naiveté to this approach. Uncritical viewing is problematic. Of course, I wasn’t wholly uncritical at age ten – I knew I liked Doctor Who and that I didn’t like other things. But assuming that just because something says “Doctor Who” at the beginning it’s good is still fundamentally uncritical. But equally, there’s a difference between growing to dislike something like The Celestial Toymaker (which I had no idea wasn’t the classic I’d been told until I watched it and realized which use of “celestial” was in play) because there’s something fundamental about the story you didn’t realize and growing to dislike something like Time-Flight because you’ve stopped being able to enjoy something in the way that you used to.

(All of which said, there’s a racial issue in Time-Flight that I should quickly deal with, having just compared it favorably to The Celestial Toymaker.…

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A Pathetic Bunch of Tin Soldiers (Earthshock)

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“What do you mean our redesign is bad? Look at his!”

It’s March 8, 1982. Tight Fit are still sleeping with a lion, and continue to do so all story. Fun Boy Three and Bananarama, ABC, and Iron Maiden also chart. So that’s all terribly exciting, isn’t it. Let’s try the news – the US starts its embargo against Libya. That will end well, I’m sure. Mary Whitehouse’s attempt to prosecute the play The Romans in Britain for obscenity goes down in flames when it turns out that the witness who claims to have seen a penis on stage could not possibly have actually done so, proving a delightfully high profile defeat for Whitehouse. Also, syzygy!

While on television we have Earthshock. A story I’ve been hemming and hawing over what to do with almost since this blog started, hoping that watching it would in some sense clarify things. It didn’t really. This is, for me, one of the most inscrutable of Doctor Who stories. No, the thing that really clarified what to say about this story was actually doing revisions on the Troughton book (I just did my revisions to The Wheel in Space last night, and I have the first round of copy-edits in on the Season 4 material. I still need to do the extra entries, however – currently looking at The Prison in Space, Heart of TARDIS, and Twilight of the Gods. Anyone have a strong recommendation for a fourth?) and rereading what I’d written about the base under siege era.

The bulk of my writing on that subject focused on the way in which the base under siege became formulaic and boring, and it did. But a second strand that crops up throughout the entries is a process of contextualizing the stories in the changing tastes of Doctor Who fandom. This is, admittedly, an issue through large swaths of the blog, and it’s one that’s obviously growing in importance in this era. But redoing the Troughton entries reminded me vividly of the large faction of fandom who considered the base under siege format to be the absolute pinnacle of the series.

I did not much like that section of fandom when covering the Troughton era. And back in the Kinda entry I remarked, with some venom, that the crux of what was wrong with Doctor Who in the 1980s is that it took a section of fandom seriously. And this story is the flip side of it. Kinda was at the bottom of the Season 19 poll. Earthshock was at the top, and is still, broadly speaking, regarded as the best episode of its season. And this gets straight at what’s a bit tricky with Earthshock, which is that it’s tailor made for the crowd that thinks that bases under siege are the be-all and end-all of Doctor Who.

For the most part, Earthshock is an astonishingly straightforward story. Cybermen attack Earth. Twice. The pleasures it offers are straightforward pleasures. There are Cybermen. There are gun battles.…

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Great Disguiser

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It’s been bad lately.  Loads of great actors have passed away.  Freddy Treves, Peter Halliday, Dennis Chinnery.  In non-Who-actor news, Nicol Williamson.

And now… Philip Madoc.

This is genuinely hard for me to take in.

Philip Madoc was a great actor.  An actor who could bend his whole shape into the character he was playing.  An actor who could move like an entirely different person from role to role… and watch the way he moves.  Solon moves in an entirely different manner to Fenner, who moves in an entirely different manner to the War Lord.  And he was a great vocal actor, able to give every character his own vocal rhythm and tone.

His performance as Solon in ‘The Brain of Morbius’ is burned into my memories of childhood.  I imagine that’s true of many of us Who fans who grew up in the VHS years.

And there’s the slimey, posh, ruthless spiv Brockley in the film version of Dalek Invasion.

Later, of course, (later for me, I mean) there was the War Lord.  A totally different entity to Solon.

Solon is flamboyant, jittery, vain, pompous, self-consciously machiavellian (to his own immature delight) and deeply inadequate as a person.  Madoc’s performance always dances just on the knife edge of comedy without ever quite tipping over.  Solon is the quintessential jumped-up and zealous servant.

The War Lord, by contrast, is cold, introverted, calculating, quick, almost feline.  The mask of control occasionally slips, showing glimpses of the sociopath beneath.  The quintessential tyrant.  And yet, he is human.  Look at the way he shows quiet outrage over the murder of his incompetent compatriot, the Security Chief.  Look at the little moment, after the Time Lords have tortured him into compliance with their court, when he regains his dignity by straightening his tunic before he turns back to face them.

And then there’s the weary, doubtful, morally-queasy yet cowardly Fenner.  Madoc’s performance radiates lip-chewing ambivalence and tired timidity masked by the persona of the cynical old pro.  I, personally, am glad he didn’t get the role of Thawn.  His Fenner is more interesting.  He gets to spar with Tom Baker over the word “progress”.  He gets to look embarrassed when he’s left at the mercy of the natives that, quite understandably, hate him.

These are, undoubtedly, among the finest guest performances in Doctor Who.  Including Fenner.  (We’ll just gloss over Eelek in ‘The Krotons’.  It’s fine.  He does what needs to be done with what he’s got.  The essence of professionalism.)

But he’s also burned into my memories in another way.

In the early 90s he toured with the RSC in Trevor Nunn’s legendary production of Measure for Measure, alternating with a stage production of The Blue Angel, based on the 1930 von Sternberg movie which starred Marlene Dietrich.  Madoc played the Duke in the Shakespeare and Professor Raat in The Blue Angel.

I won’t go into the details of the productions.  The point here is that the Measure for Measure was the first live Shakespeare I ever saw.…

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Just a Hint of Mint (Black Orchid)

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And then they killed Adric. The end.

It’s March 1st, 1982. Tight Fit are at number one with “The Lion Sleeps Tonight,” while Toni Basil’s unforgivably awful “Mickey” is at number two. Soft Cell and Depeche Mode also feature in the top ten, while Iron Maiden pokes around just outside of it. While in real news… well, we’ve got here a story that only covers two days, so actually, based on the detailed historical research I do for these posts (aka “look the year up on Wikipedia”) nothing whatsoever happens. Queen Elizabeth opens up the Barbican the day after this story finishes. The Barbican is an interesting little thing – a massive performing arts centre full of good intentions and muddy executions. But I did see a phenomenal RSC production of A Midsummer Night’s Dream there in what a quick check of the Internet suggests was just about their final performance at the Barbican. So that was nice.

While on topic, Black Orchid! Black Orchid is an interesting beast. It doesn’t work at all, first of all, but the reasons why it doesn’t work are almost completely separate from the larger problems that Doctor Who is having in this time period and have very little to do with the story as an idea. Because as an idea, this is the story that really demonstrates how Doctor Who’s relationship with its past can and should work.

The first and most important thing to realize about this story is that it comes after The Visitation. This is a stunningly obvious point, but it’s worth stating anyway. The Visitation restored Earth’s past as a place where the series goes, much as Tegan quietly restored Earth as something that was actually important to the series, it having been almost entirely de-emphasized following The Hand of Fear. And it did so by introducing Earth’s past as the sort of place it’s been ever since The Time Warrior – a place that is visited to do muckabouts in history with cool aliens.

So when Black Orchid comes along and reintroduces the straight historical it’s every bit as much a surprise as when The Time Meddler came along and broke the straight historical. In fact, this story can be read as the inversion of The Time Meddler. In that story we’re led repeatedly to think that we’re watching a straight historical only to discover that in reality we’re watching something else. Here the production repeatedly gestures at the possibility that there is something uncanny in the story, alluding to the possibility that the Master might be involved, for instance. But instead we are repeatedly shown that it’s actually just a 1920s mystery story.

By and large, though, this is a very, very smart thing to do at this point in the series. First and foremost, it shows a relationship with the show’s past that goes beyond merely catering to obsessive fans. There was no loud clamoring for the return of the historical, which has always, within fandom, been viewed primarily as a discarded relic of the early days of the show and as something rightly phased out in favor of more monsters.…

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Legless in Legoland

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I’ve become mildly obsessed by this image:

“NOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!”

How do you get a Lego figure to look traumatised by the death of the woman it loves, and the supposed deaths of its newborn children, and the loss of its legs, and third degree burns over all of its body?

And what kind of a culture is it that even tries?

(Of course, as Richard Pilbeam – who brought the image to my attention in the first place – remarked, the Lego figure does a better job than Hayden Christensen.)

It strikes me that, the more Lego tries to cope with reconstructing scenes from movies – especially from movies like the Star Wars  prequels or the later Harry Potter  movies, that are self-consciously ‘dark’ – the more it has to bring in elements of painful ‘realism’, i.e. scars on Anakin’s face… but the addition of such features to the Lego aesthetic has an unfortunate effect… it starts to make it look like they’re taking the piss, South Park  style, by representing things like serious injuries in crude, cartoon form.

This is particularly evident in the way the figure above simply has no Lego legs provided.  Is there any child who ever played with Lego who didn’t, at some point, hold up a Lego torso/head combination without the legs attached and scream, on behalf of the figure, something along the lines of “AAAARGH!  WHERE ARE MY LEGS????”, thus causing themselves wild hilarity?  I know I did.  (I hope I’m not telling you things about myself that I shouldn’t… but, to be honest, I write a blog that tries to subject Doctor Who to Marxist analysis, so, realistically, what have I got to lose in terms of being taken seriously?)  The thing is that this exact same strategy – the leaving off of the legs – is now being deliberately employed by Lego to depict horrific mutilation.

Partly this is to do with the fact that a generation who grew up watching Star Wars  are now writing and filming stories… and, in common with the fan mindset everywhere, they want to do the same kinds of stories, but better… more serious, more ‘dark’, etc.  This is a double edged blade.  It gave birth to the good and bad of the Virgin New Adventures, the good and bad of 2005+ Who, the good and bad of modern SF/fantasy fiction and film making.  The apotheosis of the bad may be the awkward attempts to do ‘realist’ but bloodless and politically illiterate depictions of urban terrorism in the Nolan Batman films, with the urban terrorist opposed by a moralist ninja in a ‘realistic’ bat outfit.  One side effect of this is that, increasingly, SF/Fantasy tries to be ‘serious’ and often tries to do this using what we might call The Gatiss Manoeuver, i.e. it tries to bring in pain and suffering.

Of course, there is a big dose of knowing, sly-winking, in-on-the-joke irony inherent in the whole Lego Star Wars / Harry Potter / Pirates of the Caribbean  thing, the toys and computer games and film-recreations.…

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Cottage Industry vs. the Spectacular Tentacular Draculas

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According to Miles and Wood, Barry Letts’ eco views were very much influnced (as were many people’s) by a text called Blueprint for Survival, co-written by Edward Goldsmith (now deceased) and published in the magazine he founded, The Ecologist, in 1972.  It was supported by many scientists and was subsequently released in book form to became a best-seller.  Miles and Wood identify it as the real-world model for Sir Charles Grover’s Last Chance for Man in ‘Invasion of the Dinosaurs’.  There is indeed something of Goldsmith’s politics (small-c conservative; anti-industrial society) in the fictional Grover, who is simultaneously an eco-radical and an establishment elitist who wishes to turn the clock back (literally) to a kind of enlightened feudalism.  George Monbiot has described Goldsmith’s politics as “a curious mixture of radical and reactionary”, saying that he “has advocated the enforced separation of Tutsis and Hutus in Rwanda and Protestants and Catholics in Ulster, on the grounds that they constitute ‘distinct ethnic groups’ and are thus culturally incapable of co-habitation”.  According to Monbiot, Goldsmith

assumes that culture is a rigid, immutable thing: that different communities can live only within the boxes nature has assigned to them. Confusing, for example, Protestantism and unionism, he fails to understand the political forces which cause splits within communities and associations between them. He fails too to see the external manipulation which first defines ethnicity inflexibly, then drives the newly separated peoples to fight.

Now, I’m not attributing similar views to Barry Letts or Robert Sloman.  However, there is something of Goldsmith’s hankerings for the regional and the anti-industrial in ‘The Green Death’.  The very separateness of Wales and the Welsh tells us something.  The resolutely English characters – even the Doctor is English really, and this has never been plainer than in ‘Green Death’ – become strangers in a strange land.

Making the workers Welsh seems like a way of quaintifying them, since quaintness was the deadly stigma that mainstream British (i.e. metropolitan English) media culture foisted upon Wales… at least before substituting constant nasty jokes about shagging sheep and Splott (i.e. standard jokes based on stereotypes about rural people and working class communities).  Welshness is a way of ‘othering’ them, of segregating them, of making them a separate community.  The Welsh working class is depicted as a subculture within British society, rather than, say, one of the most significant layers of the majority class in the country… which Welsh mineworkers certainly were at the time.

There’s no reason for ‘The Green Death’ to take place in Wales but that Letts and Sloman want the story to centre on a mine (and going to Wales is cheaper than going further north).  But why do they want the story to centre on a mine?  They’re not interested in miners.  It seems as though they feel the need to situate industry and industrial disputes somewhere regional, somewhere definitely apart from the ‘middle England’ that aliens are always invading in the Letts version of the late 20th century… but why give the story a backdrop of industry and industrial disputes anyway? …

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Nothing Ever Changes in London (The Visitation)

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The flat share sitcom Eric Saward proposed as a spinoff
tragically never really took off.

It’s February 15th, 1982. The Jam remain at number one for the entirety of this story with Soft Cell, XTC, Depeche Mode, and Hall and Oates also charting, making this the only time that list of four bands has ever happened. Depeche Mode, it should be noted, are here debuting in their Vince Clarke-free version with “See You,” their first single written by Martin Gore. Lower in the charts Journey appear with “Don’t Stop Believin’,” which will peak at 62 before vanishing, getting the reception it deserved until the damn thing reappeared repeatedly from 2007-2012, eventually becoming a top ten single.

In real news, a general election in the Republic of Ireland boosts the centrist Fianna Fáil party who, after a few weeks of jockeying, form a government. The DeLorean factory in Belfast is put into receivership. And, two days after this story airs its last episode, the European Court of Human Rights determines that caning, belting, or tasing students without their parents’ permission is a human rights violation, which is one of those rulings that just makes you wonder how anyone ever thought otherwise. 
While on television it’s the debut of Eric Saward, who will be a major character in the blog for the next while. Eric Saward is an interesting figure. He’s the script editor over the low point of the classic series – a fact that taints him as much as it taints John Nathan-Turner. He also, however, had a colossal falling out with Nathan-Turner at the end of his tenure, and, more to the point, dished freely about this in an interview after leaving the show, which means that he’s also a primary source for many of the criticisms of the show.
And then you have his four actual scripts for the series. They are, generally speaking, controversial. He has one that’s largely considered an absolute classic, which we’ll talk about in two entries. His others have their admirers and their detractors. For the most part admirers win out – all four of his stories are in the top 100 in the Mighty 200, with two in the top fifty. But there’s a volume, in every case, to the detractors that one doesn’t see with other largely well-regarded writers. 
There’s a quote that’s been making the rounds of the Internet from Ira Glass – an American radio presenter, for the large portion of my audience who isn’t from the US – about how beginners in any creative sphere run into a problem because they generally have very good taste, but their work isn’t up to their own standards yet. It’s an unusually good quote as bland inspirational quotes about writing go, but it’s particularly apropos for Eric Saward, who is, by and large, a writer with demonstrably solid taste and a chronic inability to quite live up to it.
The best example of this is Robert Holmes. The active relationship between Saward and Holmes doesn’t begin until Season Twenty, but I’d make a strong case – in fact, I’m going to – that the writers need to be considered in tandem from the start of Saward’s career.
…

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Skulltopus 10: How Green Was My Death?

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‘The Green Death’ is a ghost story.  Doctor Who itself may actually be best described, from one standpoint, as an anthology of ghost stories.

Okay, let’s go back a bit.

Firstly, let me defend my notion about 70s Doctor Who sprouting Weird tentacles when it notices (and thus needs to evade and/or signify) capitalism.  ‘The Green Death’ is clearly aware of capitalism and, sure enough, shows signs of Weird inflection.  (I’m aware, by the way, that I keep talking about the show as though its alive… a form of commodity fetishism that I’ll address some day.)

Apart from anything else, there’s a dirty great tentacle in ‘The Green Death’.  It’s only in it for a few seconds, during the Doctor’s abortive trip to Metebelis III, but still…

As in ‘Curse of Peladon‘, this is the tentacular riding in on past associations… however, it can’t be said to work quite the same way as previous tentacles in the Pertwee era.  This tentacle is clearly not obscuring any potential thematic convergence upon the subject of capitalism, as in ‘Spearhead from Space‘ and ‘Claws of Axos‘.  Nor is it standing in for implied capitalism, as in ‘Curse of Peladon’.  Capitalism is something that ‘The Green Death’ is aware of openly.  It doesn’t need to be either obscured or implied… especially since the ‘critique’ of capitalism the story offers is actually quite diffident, to the extent of dehumanizing the working class.  And this tentacle is only a momentarily glimpsed feature of a side-trip, taking place literally light years away from Global Chemicals.  However, it’s in ‘The Green Death’ rather than, say, ‘The Time Warrior’.  It’s in a story about an evil corporation rather than one about a feudal warlord.  So, the association is still evident and active.

There is also a distinct Weird inflection to the maggots.  Their multiplicitous tubular wriggliness is hardly a million miles from being tentacular.  They have some of that quintessentially Weird incoherence.  

However, like ‘Spearhead from Space’, ‘The Claws of Axos’ and ‘Curse of Peladon’ before it, ‘Green Death’ retains a hauntological charge.  

The maggots themselves are steeped in gothic, in associations to do with death.  Real maggots breed in corpses or bad meat.  They are of putrefaction.  This suggests skulls and bones and graveyards, and it suggests them in the gothic mode: as signalling extremes and transgressions, and the haunting presence of that which has been denied and repressed.  Biological corruption is here aesthetically linked with the corruption of the environment by big business.  The maggots appear in the mine because they are generated by the toxic waste from the Stevens Process, which is secretly dumped underground.  Eventually, they erupt out of the mine into the world above, like zombies out of graves.  They make a typical gothic move.  They do it almost too literally.  They have been repressed and then they return.  They have been buried out of sight but wriggle out of their subterranean hiding-place.  Moreover, this is gothic very much in the Who mode.…

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