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Pop Between Realities, Home in Time for Tea 12 (Chariots of the Gods?, Ace of Wands, The New Age)

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And now, then, for the other part of the argument. The Daemons was revolutionary in terms of how it expands the domain of what Doctor Who can do. But wait a moment. This is a show that only two and a half years ago was exploring the land of fiction. This is a show where one of its dominant creative forces over the first five years was obsessed with alchemy. And yet on the other hand the show has always praised science over superstition, promoted the idea that there is a rational explanation behind everything, and treated scientists as enlightened men of peace who can bring about positive social change. So to some extent, what’s happening in The Daemons is the resolution of a fundamental tension that has been in place in Doctor Who ever since the Doctor equated the TARDIS with television in the first episode, making it simultaneously a scientific marvel and something that is primarily understood in terms of more wooly notions like “the power of stories.” It’s not accidental that this resolution happens in 1971. But understanding why is a big project. And that’s what this entry is.

Let’s start with Jo’s first line, invoking the Age of Aquarius. The most obvious cultural association with that phrase comes from the 1967 musical Hair, which memorably began by proclaiming that this is the dawning of the Age of Aquarius. The idea is that the world is passing out of one era and into another, and that this new era will be one of peace and harmony. But this is just utopian eschatology. Every generation is convinced the world is going to end on their watch because they were dealt such a shitty hand by their parents’ generation. And then they narrowly survive and deal a shitty hand to their kids, and the cycle cheerily repeats itself. Eschatology is just a way of being. The end of the world is a lifestyle choice.

More interesting than the idea that we’re at the dawning of some new eon of possibility – or than the idea that we’re all going to die of some terrible misfortune – is what sort of apocalypse we imagine (remembering that the apocalypse can be positive or negative). And so what’s most interesting about the Age of Aquarius is not that everyone believed an egalitarian society based on peace and love was inevitable. It’s that they believed it to be inevitable because of astrology.

I mean, pause for a moment and look at the essential idea of the Age of Aquarius. Basically, over time the direction that the north pole is pointing changes, moving backwards through the Zodiac. Each change takes a bit over two millennia. The idea is that when these changes take place, it maps to massive social change on Earth. The opportune question isn’t why everyone believed a utopian society was going to dawn – that happens all the time. The question is why people were basing this belief on what stars the north pole was pointing at.…

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The Evil Has No Name (The Daemons)

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The Master, at his most Aleister Crowley, faces down
Sergeant Benton at his most Bruce Springsteen.

It’s May 22, 1971. Dawn are at number one with “Knock Three Times,” and hold it for four more weeks before giving way to Middle of the Road’s “Chirpy Chirpy Cheep Cheep,” which is just one of those things that happens on the British charts. See also Israeli novelty blues. What’s more interesting is the lower reaches of the chart, where we see… OK, well, here’s the thing. I have next to no idea who any of these bands are. Admittedly, I am not the world’s biggest 70s Music Buff, but I like to think that I’m not completely hopeless and that many of you will also be more or less mystified by the information that John Kongos, Tami Lynn, Blue Mink, East of Eden, R Dean Taylor, and the Elgins were also in the top ten.

In other news, a massive earthquake levels Bingol, Turkey. Neville Bonner becomes the first indigenous Australian to sit on the Australian parliament. But the big stories are the US dropping its trade embargo with China, which we’ll talk more about on Monday and the beginning of publication of the Pentagon Papers. (Though two days after this story ends, the British grant asylum to a Russian space scientist, which is kind of cool too.)

To recap, we’ve been playing of late with the idea that there are two completely distinct modes of thought operating in the Pertwee era at any given time. The first is what we’re calling glam Pertwee – a style based on the interplay and juxtaposition of images. The second is what we’re calling action Pertwee – a style based on telling tense techno-political thrillers. Thus far virtually every Pertwee story can be understood reasonably well as a combination of influences from the glam and action styles. Colony in Space started to challenge this, but only superficially by bringing in a more complex ethics than past action-style stories had displayed, not by breaking out of the paradigm.

The Daemons does not shatter that paradigm, but it does push it a little bit. And it is as a result an unusually complex story. So to some extent, we’re going to do it in two parts. First we’ll look at what the story does today. Then on Friday we’ll do a Pop Between Realities post in which we try to make sense of the larger cultural signifiers going on here.

The Daemons is, by any measure, one of the major Pertwee stories. It’s well-remembered both by everyone who worked on it and by audiences at the time. It also marks the introduction of one of the major writers of the Pertwee era as Barry Letts puts on his third hat, already being the producer and occasional director of Doctor Who. Here he and his friend Robert Sloman collaborate under the pseudonym Guy Leopold, but make no mistake – this team ends up doing the season finales for the next three years as well as this one, which means they get to write some landmark episodes.…

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People In Charge of Those Laws (Colony in Space)

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Never before has standing around in the TARDIS seemed
such a welcome change.

It’s April 10, 1971. T. Rex is still at number one, and remains so for three more weeks for a total of a six week run at the top. He’s finally unseated by Dave and Ansel Collins’s “Double Barrel,” a reggae track that survives for two weeks. The charts also see Ringo Starr follow his three former bandmates into the top ten, and The Rolling Stones hit number two with “Brown Sugar/Bitch/Let it Rock.” Andy Williams, Olivia Newton-John, and Waldo de los Rios also make the top ten, the latter with a recording of Mozart’s Symphony No. 40. And lower down, The Sweet are at number thirteen with “Funny Funny,” another visible sign of glam’s reign.

The news is mostly incremental progress on various fronts. Charles Manson and his followers are sentenced to death, Bangladesh formally comes into being, and, perhaps most significantly, several of the events that will eventually bring down the Bretton Woods system kick up as central banks in several European countries halt currency trading due to an excess of US dollars flooding their markets.

While on television, Doctor Who, the show we’ve been getting used to over the course of the last sixteen months or so, visibly wanders off to be replaced by some other show. The trappings we’ve become used to – UNIT, mainly – make a token appearance in the first episode in the form of the Brigadier, but the bulk of the start of this story is concerned seemingly with dismantling the premise of Doctor Who as the main character runs off in that Police Box he’s been fiddling with, which, improbably, turns out to be a time machine that can take him to other worlds.

This is, of course, being a bit facetious – the function of the TARDIS has, after all, been kept in play. The TARDIS played a major role in the resolution of both The Claws of Axos and Inferno. The idea that the Doctor would stay on Earth forever was looking increasingly strained. But on the other hand, it’s been two years almost exactly since the Doctor had a working TARDIS. The last alien world the Doctor visited was in The Krotons.

The result is a strange position. The show is not doing something unexpected in heading out into space. It’s an event, yes, but not as big of one as something like the revelation of the Doctor’s people or the introduction of his opposite number. But it’s still been so long since the show has done something like this that this is still, in a real sense, a relaunching of the series. Everyone knows Doctor Who is a show that can go to other worlds, but it’s been long enough that the exact mechanics of how that works are forgotten.

And in order to execute this relaunch the series turns to Malcolm Hulke, who, along with Robert Holmes, make up the veteran contingent of the series’ writers at this point.…

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Beasts of England

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In ‘The Beast Below’, you – as a subject of Liz 10 and a citizen of Starship UK – get to vote.  You get a choice of buttons.  You can ‘Protest’ or ‘Forget’.

This is evidently an attempt to express something about electoral democracy.

Every time we are exposed to some unpleasant and uncomfortable fact about our society or our world, or even to a suspicion of some such thing, we are presented with an implicit option to protest or forget. Beyond voting booths, we have a set of these buttons inside our heads. When you hear, for instance, that thousands of dirt poor South Africans were forcibly evicted from their shanty towns and moved to settlements of corrugated iron shacks to get them away from the new $450 million World Cup football stadium, you have the option to kick up a stink or to sigh, mumble some platitude like “tsch, how awful” and then put it out of your head so you can comfortably sit back and enjoy watching teams of overpaid jocks play amidst the McDonalds adverts.

By the way, don’t think I’m being holier-than-thou. I’m just as guilty of this kind of thing as anybody. God knows how many times I’ve found myself scrunching up a Kit-Kat wrapper and only at that point remembering that Nestlé are evil. This is normal human frailty at work, the understandable instinct to flee from guilt, as ‘The Beast Below’ indicates by showing Amy’s reflexive, horrified pressing of the ‘Forget’ button and her subsequent remorse.

So, we are clearly banked upon the sharp and shaley shores of satire.

‘The Beast Below’ presents a picture of Britain as an island in space, a star-traversing city (after James Blish’s fascinating ‘Okie’ novels, collected as Cities in Flight), with tower blocks representing counties… ah, we’re already in trouble. So, everyone from Essex lives in the same tower block? Rich and poor side by side? Maybe there are luxury apartments up at the top, opulent penthouses above floor after floor of pokey little prole cupboards… but we don’t see anything like that, unless we count the private apartments of Liz 10, but she’s a problematic figure anyway (which I’ll get to). You might argue that, in a lifeboat, rich and poor would have to budge in together… but a look at the stats for Titanic survivors might be salutary at this point:

Number of 1st class passengers: 325. Of whom survived: 202.
Number of 2nd class passengers: 285. Of whom survived: 118.
Number of 3rd class (steerage) passengers: 706. Of whom survived: 178.

Much as I hate to give Ben Elton any credit, I tend to suspect that, if the world were threatened with imminent destruction, something along the lines of the scenario described in his novel Stark would be nearer to what happened than what we see in ‘The Beast Below’, i.e. the rich would set up their own escape into space and fuck the rest of us nobodies. Mind you, that would be very shortsighted of them, not simply as they’d be left with only each other to talk to (a grim fate, as Elton’s novel implies) but also because they need us: they live off our labour.…

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This Pretty Little Thing Here (The Claws of Axos)

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I’d make a snarky comment here, but A, nobody ever even
mentions the captions in the comments, and B, what is
there to say about this picture that the picture doesn’t
say itself?
It’s March 13, 1971. Mungo Jerry is at number one still, followed by dueling ex-Beatles with McCartney and Harrison. But it’s week two of the story where it finally happens. T. Rex hits number one with Hot Love, establishing glam rock as no longer the next big thing but simply as the big thing. It’s worth pausing here and looking at T. Rex’s Top of the Pops appearance for this song just to see the way in which the visual styles of pop music and Doctor Who had merged into a single aesthetic. Elsewhere in the charts are Deep Purple and John Lennon and the Plastic Ono Band.
In real news, Bangladesh splits off from Pakistan, William Calley is found guilty of the Mai Lai massacre, the Ed Sullivan Show airs its final episode in the US, and the 47 day British postal workers strike ends. There’s going to be a lot of strikes over the next few years, so keep your eyes on that.
But let’s get back to T. Rex. T. Rex is one of those bands that really consist of a single creative force – Mark Bolan. This was, to be fair, not always true. In the late 60s, under the fuller name of Tyrannosaurus Rex, Bolan and Steve Peregrin Took brought psychedelic folk to not quite the masses before Bolan sacked the hobbit and created glam rock. The nature of this transition is a watershed moment in popular culture, and gets at a point I made some time ago and didn’t really pick up on – the fact that the crash-and-burn of 60s counterculture that occurred in France and the US simply didn’t happen in the UK. Instead, after a bit of fussing about, the psychedelic and counterculture aspects of culture made a coherent and traceable transition into glam. 
But actually defining glam is hard. And since this isn’t primarily a music blog, I’ll leave that to more capable people. Instead, let’s note that glam and Doctor Who existed in parallel and developed together. Doctor Who from 1971-1973 is as glam as glam rock, and what we called Ballard Pertwee on Wednesday can just as well be called glam Pertwee – perhaps even more accurately. 
All of which is an extremely lengthy way of circling around to the fact that The Claws of Axos pushes this aspect of the series further than it has been pushed to date, and in some ways further than it will ever be pushed again. Tat Wood refers to this story as the moment when Doctor Who was more glam than glam rock. And much as with Mind of Evil on Wednesday, the same bits that make it brilliant are the bits everyone complains about. So just as on Wednesday we explored what made the action Pertwee version of the show work, let’s look at how the glam version works. 
…

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Your last memory is of receiving a contact from an unknown agency: me. Everything since has been erased from your minds. (The Mind of Evil)

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And the child prayed, “God, will you make it so The Mind
of Evil is in black and white so we don’t have to look at
Jon Pertwee’s horrible purple jacket?” And God said, “Yes,
my child, but I must leave one photo behind as a warning
to all.” And so it was done.

It’s January 30, 1971. George Harrison is at number one with “My Sweet Lord,” having unseated Mr. Dunn. He enjoys a five week run before Mungo Jerry’s “Baby Jump” unseats him. Lower on the charts, T. Rex still stalks about upon a White Swan. The Supremes are on the charts with “Stoned Love,” a song that is actually probably not about sex while smoking cannabis, not that that has any real relevance to its interpretation. Judy Collins, Paul McCartney, Neil Diamond, and Elton John also chart.

In other news, Idi Amin, or as he’ll eventually become known, His Excellency, President for Life, Field Marshal Al Hadji Doctor Idi Amin Dada, VC, DSO, MC, Lord of All the Beasts of the Earth and Fishes of the Seas and Conqueror of the British Empire in Africa in General and Uganda in Particular, deposes Milton Obote in Uganda. Charles Manson is convicted. The Apollo 14 mission takes place to rapidly diminishing interest. Rolls-Royce, one of the great symbols of luxury, goes bankrupt and is nationalized by the Heath government. The Seabed Treaty, outlawing nuclear weapons on the ocean floor, is signed by the major countries who should sign something like that. The Weather Underground, in a rare stab at effectiveness, manages to bomb a bathroom in the US Capitol building. The UN formally establishes Earth Day, signaling that the environmental movement has thoroughly gotten underway, and also manages the Convention on Psychotropic Substances, formalizing an international effort to crack down on psychedelics. But perhaps most importantly, it’s Decimalization Day! One of the things that most firmly sticks the UNIT era in the 1970s was the fact that back in Season 7, it visibly used pre-decimal currency. All that comes to an end and we finally learn that Susan was Right as, on February 15th, the UK adopts decimal currency.

While on television, it’s The Mind of Evil. One of the last “missing stories,” like chunks of The Ambassadors of Death, it exists only in black and white now despite having originally been transmitted in color. The result is a mixed bag for the story. On the one hand, the general consensus is that The Mind of Evil actually looks better in black and white than it did in color. On the other hand, being in black and white has left this one of the least remarked upon Pertwee stories (On the Doctor Who Ratings Guide, it has the fourth fewest reviews of any of the Pertwee stories).

Although it may not prove useful through to the end of the Pertwee era, at the moment it is useful to think of the Pertwee era as fundamentally schizoid. There are, if you will, the Two Pertwees.…

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He Was a Friend at First (Terror of the Autons)

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The Doctor is so irritated at Mike and Jo that he’s begun
voluntary conversion into a Cyberman just to stop feeling
emotions about them.

It’s January 2nd, 1971. Dave Edmunds is at #1 with “I Hear You Knocking.” It’s unseated the next week by Clive Dunn’s “Granddad,” a piece of Victorian nostalgia by one of the stars of the sitcom Dad’s Army, which holds #1 for the next three weeks. Lower in the charts are the Jackson 5, Neil Diamond, Glen Campbell, and Andy Williams. But the real action starts at number ten in the first week, rising up to a peak position of #2 the final week “Granddad” is on top, namely T. Rex’s chart debut with “Ride a White Swan,” recognized as the real start of glam rock. Tat Wood argues that Terror of the Autons is an equal partner in the start of glam rock, which is an interesting argument, if not one I’m completely sold on. But in any case, glam will serve as the primary musical accompaniment to the Pertwee era from here on out.
In other news, we’ve done a season transition, which means six months to catch up on. Deep breath: The US withdraws from Cambodia. Thor Heyerdahl’s Ra II expedition is completed successfully. The Aswan High Dam opens in Egypt. The largest rock festival of all time happens on the Isle of Wight. Jimi Hendrix dies of an OD in London. Janis Joplin follows suit in LA. The US’s ridiculously meager and pathetic version of the BBC, PBS, begins broadcasting, which will turn out to have profound ramifications for Doctor Who as, with minimal budget, importing BBC shows is a cost-effective policy for them, resulting in Doctor Who’s US debut in 1972. The October Crisis begins in Canada when, in a series of events that seems deeply bemusing given Canada’s current stereotypical reputation, Quebecois separatist terrorists kidnapped the British Trade Commissioner and held him for 60 days.
Which catches us up to 1971, where a stairway crush at a Scottish football match between the Old Firm results in 66 deaths. (For those playing along at home, the Old Firm refers to Celtic and Rangers, two Glaswegian football teams whose sporting rivalry serves as a proxy rivalry for Catholic/Protestant sectarian disputes and thus, by extension, for the Troubles that continued to calmly rear their heads. Harold Wilson’s flagship venture, the Open University, began. And the worlds first ODI cricket match is played between Australia and the UK.
Whew. I miss when Doctor Who was on for 3/4 of the year, you know? So, Terror of the Autons. On the one hand, this is one of the most beloved of Pertwee stories, full of classic scary moments and, furthermore, the debut of three classic characters in Jo Grant, Mike Yates, and the Master. On the other hand…
I’ve talked before about the Pertwee backlash of the 1990s. This story is what we might call exhibit A in this regard. That’s down largely to Paul Cornell’s full-throated, bomb-throwing savaging of this story in DWB… oh God, I need to cover this, don’t I?
…

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Going Native

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Avatar is progressive in many ways.  It represents racism towards native people as stemming from imperialism.  It notices that imperialism is about capital accumulation, indicting a corporation along the way.  It shows an ‘economy’ in which spines can be repaired, but only if you have the dosh.  It metaphorically revisits the violent imperialist foundations of America – and any such settler colonial state – in a forthrightly disapproving way.  It supports the right of native people to violently resist conquest, even when Americans are doing the conquering.

Fair enough.

However, it is also deeply patronising towards native people.  To quote David Brooks’ article in the New York Times:

It rests on the stereotype that white people are rationalist and technocratic while colonial victims are spiritual and athletic. It rests on the assumption that nonwhites need the White Messiah to lead their crusades. It rests on the assumption that illiteracy is the path to grace. It also creates a sort of two-edged cultural imperialism. Natives can either have their history shaped by cruel imperialists or benevolent ones, but either way, they are going to be supporting actors in our journey to self-admiration.

And, even better, here‘s Annalee Newitz at io9.com, on the subject of Avatar and movies like it:

These are movies about white guilt. Our main white characters realize that they are complicit in a system which is destroying aliens, AKA people of color – their cultures, their habitats, and their populations. The whites realize this when they begin to assimilate into the “alien” cultures and see things from a new perspective. To purge their overwhelming sense of guilt, they switch sides, become “race traitors,” and fight against their old comrades. But then they go beyond assimilation and become leaders of the people they once oppressed. This is the essence of the white guilt fantasy, laid bare. It’s not just a wish to be absolved of the crimes whites have committed against people of color; it’s not just a wish to join the side of moral justice in battle. It’s a wish to lead people of color from the inside rather than from the (oppressive, white) outside.

Think of it this way. Avatar is a fantasy about ceasing to be white, giving up the old human meatsack to join the blue people, but never losing white privilege.

All true, if old news.

My interest here is in the fact that ‘The Power of Kroll’, a Doctor Who serial from 1978-9 that could only have dreamt of having a hundredth of the budget of Avatar (and that not even many Doctor Who fans like) did much, much better.

It covers much of the same ground as Avatar politically.  It represents racism towards native people as stemming from imperialism.  It notices that imperialism is about capital accumulation, indicting a corporation along the way.  It metaphorically revisits the violent imperialist foundations of America – and any such settler colonial state – in a forthrightly disapproving way.  It supports the right of native people to violently resist conquest, even when Brits are doing the conquering.…

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Time Can Be Rewritten 9: The Scales of Injustice (Gary Russell, Virgin Books, 1996)

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It’s July 1996, right in the middle of that awkward period where everyone is shifting uncomfortably following the TV movie, by this point not yet sure what it means for the future of Doctor Who, but quite sure that the answer is not, at least in the short to medium term, going to be anything good. The now moribund Virgin Books line releases Gary Russell’s Third Doctor novel The Scales of Injustice.

Gary Russell has something of a reputation for what is generally referred to as “fanwank.” That is to say, he’s known for writing books that are packed to the gills with continuity references for the sake of continuity references. Now, a sane person could and perhaps even should ask what the difference is between fanwank and, for instance, having the Macra pop up forty years after their last appearance for a cameo. And plenty of people have asked that. If nothing else, then, The Scales of Injustice serves to explore that line.

Because this book is not so much continuity heavy as it is capable of producing continuity gravity. Direct references exist not only to the four Pertwee stories preceding it but also to Time Flight, Remembrance of the Daleks, The War Machines, The Invasion, The Web of Fear, The Sea Devils, Warriors of the Deep, and probably a fair swath more that I didn’t even notice. One thing you may notice about that list is that not all of the stories are links. That is because many of them are stories that haven’t actually aired by the point in the series this novel takes place in.

Which means we’re in the wild and wonderful world of future continuity, a topic we’ve picked up in a couple of these Time Can Be Rewritten columns. (Incidentally, a reader found a counter-example to my claim that no stories set pre-The War Games ever mention the Time Lords. Apparently John Lucarotti’s novelization of The Massacre does.) But more even than The Dark Path, this is a book about reconciling Doctor Who stories and squaring away continuity errors. It tackles not only the nature of the Brigadier’s love life (glimpsed in Planet of Spiders and Battlefield), Mike Yates’s assignment to UNIT and promotion to Captain (complete with a gratuitous scene to explain why Benton didn’t get the promotion), Liz Shaw’s departure (more later), but also, for the horde of people who were concerned about it, the question of why the Doctor claimed to have twice negotiated with the Silurians for peace in Warriors of the Deep when in fact he only did so once.

Let’s pause here for a moment and look at that. I don’t want to get too far into Warriors of the Deep some thirteen seasons too early, but accounting for this supposed continuity error is trivial. First, a bit of context for anyone who is actually trying to use this blog to learn about early Doctor Who. Warriors of the Deep is a 1984 story in which the Fifth Doctor faces both the Silurians and the Sea Devils, the latter being cousins of the Silurians introduced in season nine.…

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Pop Between Realities, Home in Time for Tea 11 (Doomwatch, The Atrocity Exhibition)

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As we watch the at times compelling, at times just kind of sad spectacle of Doctor Who frantically trying to reinvent itself on a brand new formula and premise, it may be worth looking at other contemporaneous British attempts at Earth-based science fiction to get some idea of what genre Doctor Who is trying to impose itself on. It’s not, of course, as if Doctor Who has never imposed itself on other genres before. The historicals, in their latter days, were all about genre crossing. But note the specific wording – a story like The Gunfighters was about taking Doctor Who and crashing it into the western then filming the explosion. With the UNIT stories we are by and large seeing something different: a fair swath of the production team does not seem to be trying to cross Doctor Who into another genre. They’re trying to make Doctor Who as an example of another genre. Until we understand what that genre is, it’s going to be difficult to say what can be accomplished by turning Doctor Who into that genre.

To some extent we’ve already seen what that genre is via Monty Python. Or, more to the point, we’ve seen that whatever Doctor Who is trying to do, it’s so flamingly obvious within the context of British culture that it can be parodied prior to Doctor Who doing it. Of course, if we rewatch the Science Fiction sketch, we can see that it’s just as much a parody of the old Quatermass formula. In other words, there’s an established sort of science fiction here that Nigel Kneale invented with Quatermass that Doctor Who, under UNIT, comes perilously close to faithfully and blindly discharging. Of course, we’ve also seen with the Brigadier the beginnings of a response, which we’ll see expanded on when we get to Terror of the Autons.

But Doctor Who wasn’t even the only contemporary sci-fi thriller airing on BBC1, little yet the only one being made in Britain at the turn of the decade, so let’s look at two others to set up some signposts. The first is obvious – Doomwatch, created by Gerry Davis and Kit Pedler, is, like Adam Adamant Lives!, a case of “what Doctor Who people did next.” And like Adam Adamant Lives!, the answer is “something that is almost, but not quite, what Doctor Who did next.” Just as Adam Adamant Lives! prefigured the charismatic lead model of the Troughton years, Doomwatch was an attempt by Davis and Pedler to work through their issues (well, Pedler’s issues mainly) regarding contemporary science via contemporary earth-based sci-fi.

Perhaps the most alarming thing about Doomwatch is that it’s actually quite good. This is alarming because the creative talent on it was, as I mentioned, Kit Pedler and Gerry Davis. We discussed the seeming nature of Pedler’s Doctor Who scripts in the past. Gerry Davis, on the other hand, is responsible for The Celestial Toymaker, The Tomb of the Cybermen, and, to be fair, The Tenth Planet.…

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