Eruditorum Press

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Come Out Onto the Balcony and Wave a Tentacle (The Zygon Invasion/The Zygon Inversion)

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One of the things you notice a lot more when watching television as a girl is how fundamentally ludicrous a lot of characters’ “no makeup and looking slightly ratty” looks are. 

It’s October 31st, 2015. Adele has debuted at number one with “Hello,” just ahead of Justin Bieber’s also new to the charts “Sorry,” a situation that persists through both episodes of this story. Sam Smith, Ariana Grande, Mnek & Zara Larson, The Weeknd, and Drake also chart. In news, hundreds die in Pakistan and Afghanistan after a magnitude 7.5 earthquake, Paul Ryan becomes Speaker of the House of Representatives, and a Russian plane flying from Egypt to Saint Petersburg is blown up shortly after takeoff, killing 224.

One ought never look a gift coincidence in the mouth when doing psychochronography, so let’s start with the cliffhanger, in which the Doctor’s plane is shot down by a group consciously made to parallel ISIS. On the one hand this is an eerie coincidence, but it’s also the sort of thing that happens when you ostentatiously position your story to be rooted in current events. Comment not on the abyss, as I’m sure someone or other said once.

But we’ll circle around to the politics of this story in good time. Let’s start, in the spirit of cracked mirrors, with the actual split between the two halves. The Moffat-era two-parter structure, after all, is rooted in the idea that the second part should always begin somewhere different than where the first part left off, a rule fashioned after his experience with The Empty Child/The Doctor Dances and his dissatisfaction with the feeling that the Doctor and company had just been in that basement for a really long time by the time the latter episode rolled around. And so now part twos begin by ostentatiously altering the premise of the story: UNIT shows up, we cut to Missy and Clara, the Doctor is a ghost now, or it’s just an entirely new story that shares a character with the previous one. So what’s the change that breaks the symmetry between part one and part two of this story? Clara obvs.

After all, you can’t do a Zygon story without someone important being a duplicate. The Doctor is the boring answer, the UNIT cast is all even duller, and so it has to be Clara, not least because Jenna Coleman has not to date gotten to do her obligatory villain turn. (Not every companion gets one, but they’re always a bit conspicuous by their absence.) So the big end-of-episode reveal for The Zygon Invasion (as distinct from the cliffhanger itself) is that Clara has been a Zygon all episode. Correspondingly, the big opening shift for The Zygon Inversion is her reinsertion into the narrative as the airplane shooting cliffhanger replays from her perspective. The ensuing showdown between Clara and her duplicate, Bonnie, is scintillating, not just because it’s Clara’s most extended hero moment all season, but because the underlying dynamic is so carefully worked out.…

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The Gateway Drug

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Paleolibertarianism was a consciously devised mutation of Austrian-influenced libertarianism, concocted by the late-20th century’s most prominent devotee of Austrian dogma, Murray Rothbard (and his fawning cohorts).  

Libertarianism today draws on several sources.  Ayn Rand is the best known, but the more influential is arguably Murray Rothbard.  (Rothbard’s attitude to Rand fluctuated.)  Rand is more influential for her ‘ideas’.  Rand is more accessible, despite putting up a superficial show of intellectualism.  Rothbard is harder to get a handle on.  Unlike Rand, he is a genuine intellectual – which is often a question of how one couches ideas rather than the ideas themselves.  And he develops.  And he writes long, involved, serious articles (though they get less serious-minded as he gets older).  I would argue that his influence is less in actual ideas and more in the surrounding spheres of aesthetics/style and tactics/strategy.  After all, in fusing libertarianism with conservatism to create paleolibertarianism, the libertarians consciously submerged certain libertarian ideas.  What succeeded – from the libertarian point of view – was arguably less the fusion than the style: the strategic attempt to use populist reactionary politics to further the ends of liberal economics.

Paleolibertarianism aimed to promote the relatively unpopular extreme free-market dogmas of libertarianism by joining them tactically to America’s powerful trends of post-60s reaction.  It succeeded to a great extent.  It pandered to, and (as far as possible) absorbed, extreme American cultural conservatism, racism, sexism, etc.  It took a powerful place in the ecology of American reaction.  It fed on the discontents of neoliberalism, and US imperialism, to achieve a quasi-rebellious presence in the mainstream of US politics, most of all in the person of Ron Paul.

We’ve talked about Ron Paul in previous instalments, and mentioned the publication under his name, or at least his ‘brand’, of infamous racist newsletters.  People familiar with the content of those newsletters will have been unsurprised by Paul’s recent slip up on Twitter, when he explained the troubles of modern America with a cartoon which featured racist caricatures of various ethnicities (Jew, African American, etc) uniting to punch Uncle Sam with one massive fist made of ‘Cultural Marxism’.

 

 

Some libertarians have defended Paul over the years, but others have denounced him, asserting that the contents of the newsletters is paleoconservative rather than libertarian, and that it has no connection to the great pantheon of libertarian thinkers.  There is certainly some truth to this.  Our own Daniel Harper has suggested to me, in discussion, that Paul is actually not a libertarian but rather a paleoconservative (if, I’d say, an eccentric one) with an opposition to federal regulation rather than regulation per se.  So, he’s maybe ideologically inclined towards a ‘states’ rights’ perspective which paleolibertarianism has, in my view, tended to flirt with opportunistically.  Paul, of course, formally rejects the contents of his own newsletters and new tweets.  But then a great many racists these days formally claim to not be racists.  (I often wonder if the people citing that fake Churchill quote about “the fascists of the future… call[ing] themselves anti-fascists” have ever listened to the leading lights of today’s fascist movement steadfastly and indignantly deny that they are fascists.) …

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A Rather Egotistical Young Lady (The Woman Who Lived)

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Me takes poorly to the Doctor’s “Varys is a mermaid” theory.

It’s October 24th, 2015. KDA with Tinie Tempah and Katy B are at number one with “Turn the Music Louder (Rumble).” One Direction and Sleepy Tom & Diplo enter the top ten, while Bieber, The Weeknd, Drake, and Ellie Goulding are still around. In news, Hurricane Patricia, the most intense tropical storm ever to hit the western hemisphere and the second most intense ever, strikes Mexico and deals nearly half a billion dollars in damage. The Tories change rules to weaken the power of Scottish MPs by ruling that laws affecting only England must have a majority vote of English MPs. Hillary Clinton spends eight hours testifying in front of the Benghazi Committee, while Lincoln Chafee and Jim Webb both drop out of the race for the Democratic nomination. 

On television, meanwhile, the two-part structure of the season begins to break down with an episode by a completely different writer than its nominal part one. Let’s set aside my decision to cover them separately, which is really a decision about how many words I think I can spend on them and not about them per se. The consensus appears to be to treat these as separate stories—Doctor Who Magazine offered them separate previews (unlike Heaven Sent and Hell Bent), and they seem to consistently be listed separately, but they’re certainly more connected to each other than Utopia is with The Sound of Drums, and The Girl Who Died ends with a clear “to be continued” that presents this as part two. Indeed, to an audience untrained in the Doctor Who fandom art of obsessively following writer credits, it’s difficult to imagine that this would not be viewed as the third two-parter in a row. 

Speaking of writerly readings, it is with this episode, in his penultimate season, that Moffat finally addresses the embarrassing problem that his writing teams are consistently all male. This is a tricky needle to thread. “The first female Doctor Who writer in more than seven years” is not something to celebrate in 2015 so much as something to be actively ashamed of. For whatever it’s worth, Moffat recognized that and repeatedly acknowledged that it was a problem, but, well, it still took this long. Still, on the bright side, we have Catherine Tregenna, she of the actually good Torchwood episodes. Her hire for this appears to have been something of a specialist hire—she noted that she never really felt like Doctor Who was a good fit for her, but was specifically pitched writing about an immortal woman and agreed that she could do well with that, which was an obvious conclusion to anyone who’s seen Out of Time or Captain Jack Harkness.

The resulting story is an odd one. For large swaths it’s effectively a two-hander between Capaldi and Williams, which is one of those ideas that’s self-evidently going to work with an even remotely competent script, a bar Tregenna clears by several miles.…

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Summing Up, Part 1

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As we know, the Austrian School is – but is not limited to – a heterodox branch of bourgeois economics.  It is, however, founded upon a more-or-less explicitly political project.  And this project continues to animate its zombie, and its zombified victims, infected by its bite.  But then the Austrians’ iteration of the new (in the 1870s) bourgeois economic doctrine of marginalism was always a political project, even in its dry theoretical basis. 

Marginalism itself arose as a way to escape the increasing obviousness of the fact that capital exploits labour.  This was a necessary project as capital spread across the globe.  It took the conscious form of an attempt to address genuine weaknesses in the classical labour theory of value.  These weaknesses were interpreted as evidence that the theory needed to be discarded precisely because the class position/alignment of the theoreticians addressing the issue pushed them towards a view of value which did not derive from labour.  It became an even more necessary project after the Paris Commune scared the shit out of the bourgeoisie. 

The Austrian School, in the person of Menger, helped create marginalism.  But it continued to exist as a distinct trend within marginalism because of the nature of Menger’s iteration of marginalist ideas – namely his rejection of mathematics; vociferous and foundational opposition to what was called the ‘Historical School’, basing himself on “general laws” and “typical phenomena” rather than historical specifics – which he passed down to a succession of thinkers which formed the Austrian tradition.  For contingent historical reasons (the intellectual climate of fin de siècle Austria, the existence of Austro-Marxism, etc), the Austrian marginalists were the ones who concerned themselves most especially with attacks on Marx in particular and socialism in general.  They made the political (i.e. class) aspects of marginalism relatively explicit, at least in terms of what they attacked.  The Austrian trend within marginalism was the most consciously ideological.  This approach is inherently ideological.  Bohm-Bawerk develops Menger in direct response to Marx, and this as a result of combat with Austro-Marxism.  But the emphasis on the subjective and the general is political in itself.  It is based on a class position, and on interests.

I think there is a question as to what extent the Austrian School actually exists in any coherent form rather than as a broad tendency or aesthetic, with its opposition to Marx and socialism as its most important markers.  There are delineable basic intellectual principles, but even they tend to be quite flexible.  Thinkers within the Austrian tradition will disagree about many things, some of them quite fundamental.  This is worth mentioning because it can cause trouble as one generalises – which one needs to do unless one is engaged in a detailed account.  What is true of one ‘Austrian’ is not true of another.  The Austrian School has a built-in defence mechanism which makes it hard to take aim at: it doesn’t really exist.  That’s a somewhat cheeky and overstated way of saying that its members believe all sorts of things, many of which are contradictory, some at a fundamental level.…

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You Were Expecting Someone Else: The Legends of Ashildr

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For all that we’ve been picking on the inadequacies of the standard book line, there had been efforts in the background to try new things. For a variety of reasons we didn’t cover efforts like Summer Falls and The Angel’s Kiss in the late Matt Smith era (actually just one reason, which was me saving things for the book), but they certainly represented one effort to change what the book line can and should do. The Legends of Ashildr represents a stab at another possible shape the books could take—anthologies of several short stories. Obviously there are some constraints around this. Just dumping a couple Doctor Who short story collections a year is an invitation for mediocrity with no obvious sales hooks. Whatever one might say about Big Bang Generation, it at least has a hook you can sell it with in a way that wouldn’t be true of a straightforward collection of shorts.

But what does work is grabbing gaps in the series and filling them with anthologies. So, for instance, when you have several hundred years of Ashildr/Me growing and developing as a character between the two halves of her debut you drop a collection of four stories filling in that gap. There aren’t necessarily a ton of things you can obviously do this with. There’s one other big one that we’ll get to towards the end of the era, and a few you could maybe imagining them doing something with that they didn’t (Osgood’s Zygon Adventures, Clara and Me, One Night on Darillium), though many of these start to get into a turf war with Big Finish who one assumes are absolutely dying for Maisie Williams and Jenna Coleman to have a spare weekend they can waste. 

(A quick aside on terminology, since calling people by their preferred names is kind of a thing for me. The credits for episodes list Maisie Williams as playing “Ashildr” in all but The Woman Who Died. This broadly tracks with the Doctor’s inclination—he seems to passive aggressively call her Ashildr as part of his efforts at “redeeming” her. But, well, fuck that sideways with a Tissue Compression Eliminator. I don’t think this is quite a deadname situation, as it’s less rejection of having ever been Ashildr than a statement of having grown and changed, and so I do not have  problems calling her Ashildr prior to her taking on her new name. As these stories keep calling her Ashildr even when doing internal narration [though note my concerns when we reach the final story], I’ll call her Ashildr in this entry, but she’ll be Me going forwards.) 

But when the opportunity presents itself it’s a clear occasion for knocking together a book that’s got a little more freedom to try things and be interesting. With four stories, any of them have the liberty to take risks or display ambition because if they fail there’s three other ones to pick up the slack. There’s opportunities to give new writers a chance.…

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Brave Viking Warriors Slain by the Curse (The Girl Who Died)

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A girl has no spacesuit

It’s October 17th, 2015. Justin Bieber is still at number one, with The Weeknd and Jamie Lawson newly entering the charts. In news, Home Office figures are released showing that hate crimes in England and Wales have risen by 18% in a year, and the first primary debate for the 2016 Democratic Party nomination is held in Las Vegas, over the course of which Donald Trump gained more Twitter followers from live-tweeting events than any of the actual candidates.

On television, meanwhile, it’s the return of Jamie Mathieson and the debut of Maisie Williams’s Ashildr/Me. Let’s start with the latter, as it’s Series Nine’s big piece of celebrity stunt casting, and one the show seeks greater mileage out of than, say, Keeley Hawes or David Suchet’s appearances. Part of this is that Maisie Williams is coming to Doctor Who from a currently-airing hit show. But Game of Thrones is not the cultural juggernaut in the UK that it is in the US; its all-time high ratings were 3.5m for the Season Seven finale, which is more than a million lower than Doctor Who’s worst-ever episode, and more to the point came two years after this aired; the record at the time was the Season Five debut, at 2.6 million. This is still quite good, especially for a premium channel like Sky Atlantic, but the fact remains that at least in the UK, Maisie Williams is moving up a weight class in appearing on Doctor Who; indeed she pulled four million more viewers for this than she ever had on Sky Atlantic, and it remains the highest rated thing she’s ever appeared on in her native country.

And yet all of the marketing treated this as an absolutely huge thing. Williams’s casting got headlines, she’s prominent in the promotional photos for both this and The Woman Who Lived, and her returns at the end of the season are treated as big, audience-pleasing surprises. This is low-key odd, to be sure, though not hard to explain. What matters, obviously, is that Maisie Williams’s celebrity impact is bolstered by the fact that she’s famous for appearing on a hit sci-fi/fantasy show. This isn’t unheard of in Doctor Who—consider the guest casting of Jacqueline Pearce in The Two Doctors. But the era we’re reaching back to there is significant as well. As with the continuity-packed opening of The Magician’s Apprentice, there’s a clear statement about what sort of show Doctor Who is and who its intended audience is. The show is unapologetically catering to genre fans. This obviously isn’t being done with the gross incompetence of the late-Saward/Nathan-Turner era, nor in a way that’s overtly hostile to other types of viewers, but the core audience here is very clearly geeks. It’s an expansive definition of geeks that’s miles from the sort that use phrases like “ethics in video game journalism,” but it’s geeks all the same.

That said, understanding Williams’s casting entirely through the lens of marketing is a mistake.…

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Literally a Communist

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“I’m a communist you idiot!” declared Ash Sarkar on Good Morning Britain, in response to the heckling and strawmanning of Piers Morgan. (Video here.)  She’s subsequently been all over the media.  Morgan has accidentally made this into her ‘moment’.  As she herself humourously overstates, he’s even accidentally rehabilitated communism.  Turns out, if it’s communism or Piers Morgan, the British people seem more likely to give communism a try. 

Sarkar, senior editor at Novara Media, was being interviewed as a representative of the anti-Trump protestors descending on London (despite Trump’s well-advised absence from that city). As it happens, I suspect very few of the 100,000-250,000 who assembled were communists – despite the Daily Mail‘s characterisation of the protest as consisting of what they rather confusingly called a “rent-a-leftie mob”. 

(I’m wondering if there’s any money in lefty-rental.  Can I hire myself out?  And who does the renting?  George Soros?  The Mail seems to imply it’s Corbyn… but isn’t he one himself?  Shouldn’t he be on the books rather than keeping them?  Could I start my own franchise?  “Ah, so you’re a socialist but you make money from lefty-rental?  Hmm… interesting.”)

Morgan is one of those puzzling people who continue to enjoy a high profile in Britain despite the fact that almost everyone in Britain hates their guts.  Alongside other such specimens – Tony Blair, for instance – Morgan is one most disliked people in Britain, capable of provoking scorn from even his ideological kindred.  He’s a nasty lout who – as Editor of the Daily Mirror – apparently presided over endemic illegal telephone hacking.  (The subsequent Leveson inquiry found his denials “unpersuasive”.)  He’s so repellent, so self-evidently cynical and foolish, that not even his posh(ish) British accent was able to make anyone in America take him seriously.  He doesn’t come off looking significantly preferable to his interview subjects even when they’re Alex Jones (he did at least manage to be broadly on the right side of that ‘debate’) or Donald Trump himself.  (To give you some idea of Morgan’s technique: in one interview he asked Trump if he was a feminist.)  Sat opposite Ash Sarkar – whom he talked-over, patronised, misrepresented, and unrelentingly attempted to shout-down – he looked possibly more asinine than ever before in his misbegotten life, which is quite an achievement when one contemplates the sheer levels of misbegottonness involved in that life.  It was like watching a petulant toddler throwing a tantrum because his increasingly exasperated babysitter wouldn’t let him have a fifth funsize Mars bar.  It was only appropriate that he should try to strawman her.  What else has a man of straw got?

Morgan has seemed, in recent months, to be trying to make a new career out of Trump-sycophancy.  He has recently been castigating London mayor Sadiq Khan (a favorite target of Trump’s, and of Trump’s online constituency, for depressingly non-mysterious reasons) for permitting the infamous Trump-baby balloon.  We won’t get into that, except to note that Morgan (whining on Twitter) genuinely didn’t seem to understand that there was a particular reason for portraying Trump as a baby, namely Trump’s characteristic infantilism. …

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An Evolutionary Error They Obviously Mean to Correct (Under the Lake/Before the Flood)

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For once I don’t have a joke about this, it’s just a screenshot that adds further support to one of my points.

It’s October 3rd, 2015. Sam Smith has debuted at number one with “Writing’s On the Wall,” while the rest of the top ten is basically the same as last week. Justin Bieber takes the number one slot back a week later, when Philip George & Anton Powers and Drake also enter the charts, the latter with “Hotline Bling.” In news, NASA announces that there’s liquid water on Mars, which can’t mean anything bad at all, the US accidentally bombs a Médecins Sans Frontières hospital in Afghanistan, and a mass shooter at Umpqua Community College in Oregon kills ten after apparently warning posters on 4chan to stay home from school. 

On television, meanwhile… *sigh*. Ultimately, every story about a hot streak ends the same way. No matter how imperiously brilliant, no matter how ambitious, eventually it all falls apart. The story of how it happened this time is simple enough: Moffat had to go make The Abominable Bride, and so needed two episodes of Doctor Who by someone he wasn’t going to extensively rewrite. With the frontline pick for that job also working on Sherlock with him, in came Toby Whithouse, who did what Toby Whithouse does, which is turn in a banal mix-and-match base under siege that’s not about anything but cliches about difficult men weighed down by the gravity of their serious morality. Actually it’s a step worse than we’re used to from Whithouse, who could previously be trusted to have some semblance of plot logic whereby a majority of events either set up other events or were themselves set up. Here, however, we just have a melange of Doctor Who cliches flowing into one another without anything that can traditionally be recognized as reasons. It’s not merely derivative crap, it’s incoherent and pointless derivative crap.

But we have 2000 words to spend on it all the same, so let’s see what we can do. Let’s start with the basic setup of the base, since it is, charitably, really weird. This is a pretty committedly fanwanky story, with explicit references to Dark Water/Death in Heaven, The Rebel Flesh/The Almost People, Kill the Moon, The Sound of Drums/Last of the Time Lords, The God Complex, a throwaway about the Autons, and probably a few others I can’t be bothered to go looking for, and so it would be malpractice not to contextualize this in the larger timeline of Doctor Who. The problem, simply put, is that this ends up being completely mad. The contextualization in terms of Kill the Moon makes conspicuous the fact that this is set sixty years after The Waters of Mars, and thus thirty years after Susie Fontana Brooke’s lightspeed trip to Proxima Centauri. We are, in other words, well into the space-based future. Stories that have taken place by this point include Paradise Towers and Nightmare of Eden, which is to say that Earth is setting up colonies and expanding across the galaxy.…

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Wrong With Authority, Episode 9 – ‘Anonymous’

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This time, Jack indulges his unhealthy obsession with Anti-Stratfordianism, and forces James, Kit, and Daniel to watch Roland Emmerich’s 2011 self-funded passion-project Anonymous.

Anonymous; 2011; d. Roland Emmerich; w. John Orloff; starring Rhys Ifans, Vanessa Redgrave, Joely Richardson, David Thewlis, Rafe Spall, Jamie Campbell Bower, Mark Rylance, and Derek Jacobi; distributed by Columbia Pictures.

It lost about 15 million dollars.

Based on the wackiest version of the longstanding conspiracy theory that the plays of Shakespeare were secretly written by Edward de Vere, 17th Earl of Oxford, Anonymous is both less entertaining and less plausible than the rest of Emmerich’s films, including the ones about aliens and giant lizards.

It was ‘controversial’ at the time, in the sense that everyone who knew anything about Shakespeare both ridiculed and denounced it, especially its attempts to market itself via ‘information packs’ provided to schools.

In the process of telling his dreary, plotless, and confusing shaggy dog story, Emmerich encourages some of the finest Shakespearean actors of our time to make utter fools of themselves.  Not that some of them need all that much encouragement.  The whole thing manages to be simultaneously totally insane, quasi-fascistic, and profoundly dull… which is quite a feat, in its way.

None of us were terribly impressed, it’s fair to say.  But, in between Jack galloping off on his hobby horse for uncomfortably long stretches of time, we also delve into some of the interesting history and politics concerning Shakespeare, Anti-Statfordianism, and conspiracy theories generally.

Downloadeth here.

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LINKS:

Jack has written a lot about Shakespeare in general here.

Here are some books which are either about, or touch on, this issue:

The Genius of Shakespeare by Jonathan Bate.  Has an entire fascinating chapter on the ‘Authorship Controversy’.  The rest of the book is periodically excellent too.

Contested Will by James Shapiro.  Brilliantly discusses the ‘Authorship Question’, not so much in terms of its actual claims (though Shapiro does address them) but rather as a phenomenon in itself, populated by fascinating people and deserving of study in its own right.  Shapiro develops many insights about scholarship, history, literature, and politics.

 Shakespeare, In Fact by Irvin Leigh Matus.  A legendary work of factual analysis.  Forensic, witty, and merciless.

Here’s the Bill Bryson book James refers too.  Boasts an amusingly irritated final chapter on the ‘Authorship Question’.

Shakespeare Beyond Doubt, Eds. Stanley Wells and Paul Edmondson.  A compendium of essays commissioned by the Shakespeare Birthplace Trust as part of their assertive response to Anonymous.  Scholar after scholar examines every aspect of the issue.  The definitive single-volume demolition.

The SBT also created this bite-size pamphlet – Shakespeare Bites Back: Not So Anymous – summarizing the main issues at stake.  Free to download here.

Speaking of online resources, here’s the Shakespeare Authorship Page.  Lots of links to lots of articles and essays.

The lecture excerpted in the podcast is part of a series by eloquent Shakespeare scholar and former actor Peter Saccio. …

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It Was On The Planet Skaro (The Magician’s Apprentice/The Witch’s Familiar)

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The hand mines were understandably agrieved that nobody had ever asked if they wanted chairs.

It’s September 19th, 2015. Justin Bieber is at number one with “What Do You Mean,” while Sigala, the Weeknd, Ellie Goulding, Calvin Harris and Disciples, and Rachel Platten also chart. In news since the whole Dream Crab infestation got cleared up, gunmen killed twelve in the Paris offices of Charlie Hebdo, a Saudi Arabia-led coalition intervened in the civil war in Yemen, FIFA was rocked by a corruption scandal when US officials arrested a host of officials leading to the farcical scene of Sepp Blatter handily winning reelection as FIFA President and then stepping down a week later, the newly elected leftist government of Greece held a referendum on whether to defy the European Union on debt repayment and then immediately ignored the result. In the week before the story aired Malcolm Turnbull replaced Tony Abbott as leader of the Liberal Party and Prime Minister in Australia, Jeremy Corbyn was elected leader of the Labour Party, and it emerged that Volkswagen had been cheating on emissions tests, while over the week it aired John Boehner announced his resignation as Speaker of the House.

On television, Doctor Who is back. Last time we spoke about an actual episode, we noted that there would inevitably be some sort of price paid for the show’s arrogance, and particularly the decision to avoid changing things up at the end of Series Eight. Here, off the bat, we see it: 1.1 million viewers shed from Death in Heaven to The Magician’s Apprentice, and another .8 million for The Witch’s Familiar. This is the first time in the new series that a season premiere hasn’t broken the top ten, and the first time since The Eleventh Hour that a season premiere failed to top the previous season’s finale, and that was following the rather special case of Journey’s End. The previous nadirs of the new series ratings were, numerically, The Satan Pit with 6.0 million and Silence in the Library in 27th. Series 9 would see those records broken twice apiece, with The Witch’s Familiar and Under the Lake both notching record low numbers (5.7 and 5.6) while Sleep No More and Face the Raven came in at 28th and 30th place respectively, resulting in the first-ever season with no top ten episodes whatsoever. And the damage would continue into Series 10, which bottomed out with The Eaters of Light pulling just 4.7m viewers. (Which is actually the fewest viewers to tune into a Rona Munro episode ever, episode two of Survival having managed 4.8.)

It is easy to overstate how big of a problem this is, and numerous threads on GallifreyBase devoted to exactly that. A show that’s never dropped out of the top 30 and continues to produce massive international sales and significant merchandising is in no meaningful danger of cancellation. Doctor Who is simply too important to the modern BBC’s finances to be cancelled without some genuine efforts at improving it.…

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