Archive for Personal Essays

Domesticating the Doctor Part V: Divorcing the Ponds

[Cross-posted at my blog, tansyrr.com]

The Christmas decorations are still up, we’ve only just started eating the pudding (if I’d known it only took 3 minutes in the microwave I might have cooked it on Christmas Day) but the festive season is pretty much over in our house. Time to chew over the 2012 Doctor Who episodes (Series Pond & the Christmas Special) with a couple of new installments of DOMESTICATING THE DOCTOR.

Previously on Domesticating the Doctor, we looked at our hero’s distaste of the domestic sphere throughout the Classic Years (with a brief holiday from it when he was Jon Pertwee), we looked at the three Mother-in-Law characters from the RTD era and how this new, rebooted version of our hero coped with jam, Christmas dinner and housing estates, we delved back into pre-war Britain with a very human Doctor, and finally we poked holes in his new Moffat era family with Marrying the Ponds.

Before I get to the 2012 episodes, I wanted to touch briefly on the Night and the Doctor shorts, which were released last year as part of the Season 6 box set, but which I personally failed to watch until somewhere around the beginning of Season 7. These little sketches not only answer some rather intriguing questions about the actual timey wimey physics involved in the Doctor’s marriage to River Song, but also expands on his relationship with Amy, cementing it once and for all as being far closer to a familial connection than anything else.

This Doctor doesn’t get why married people should want to share a bed, but is in his element when talking about his best friend’s childhood – children make sense to him in a way that grown ups don’t, and he seems far less threatened by their domesticity. If this wasn’t fully clear from The Doctor, the Widow and the Wardrobe (which probably deserves a post of its own, to be honest) in which the Doctor upcycles a house to be a child’s paradise but sneers at the functional adult rooms, it should certainly be clear from the scene in which he shows Amy the power he can have over her childhood and her memories, using only a theoretical ice-cream.

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Triumph of the Dinosaurs

An episode with a deliberately jokey title turning out into one of the most straightforward and fun episodes recently? And, after all I’ve bitched about this never happening, the story has feminism front and center and unashamed? By Chris Chibnall, whose record on Who* has been at best mixed?

I wasn’t expecting THAT.

O “Dinosaurs on a Spaceship”, how do I love thee? Let me count the ways:

  • I love the story’s categorical opposition to objectification.
  • I love Nefertiti’s agency.
  • I love Amy’s agency.
  • I love the way Riddell learns. He starts out straight-up misogynist, but he learns. This is so cool, people.
  • I love that no one makes excuses for Riddell’s behavior. No, the problem is him and his views of women, and Amy is quite right when she suggests a course of gender politics.
  • I love Amy fangirling over Nefertiti. (“She’s cooler than you.”)
  • I love Amy and Nefertiti getting along rather than catfighting.
  • I loved thatin the future, lots of countries have space agencies and seem to take turns defending Earth.
  • I loved that, after the Doctor kissed Rory, Rory just made this hilariously weird face (Arthur Darvill shines in this episode, especially his reaction shots) and then that was it; nobody lost their shit or anything.

* I’m being unfair to Chibnall here. He’s clearly a hell of a writer, because he wrote the hell out of some episodes of one of my very favorite TV shows ever, the exquisite Life On Mars.

Radical Inclusiveness 2: or, Dear Mister Moffat

Now, the point to all this blustering about qualifications is to get at something the Grand Moff said a while ago:

“It’s just a question of who credibly is going to agree to go in the TARDIS? Who’s going to do it? Is it going to be a mother of 15 children? No. Is it going to be someone in their 60s? No. Is there going to be a particular age range? I mean… who’s going to have a crush on the Doctor? You know, come on! It’s more than a format. It’s evolved from good, dramatic reasons.”

With respect to Moffat, and with pains to point out that he is an award-winning screenwriter and I am not: bullshit. For one, the Sixth Doctor’s run with sixtyish history professor Evelyn Smythe is one of Big Finish’s real triumphs, a perfectly tuned relationship that works precisely because of Dr Smythe’s age and rich life experience.

And why not a mother of 15 children? Because she has responsibilities towards them? The Doctor has a time machine! She can kiss them goodnight, be off adventuring for as long as she likes, and be back before any of them so much as turn over in bed! Martha Jones’ arc explored this! For heaven’s sake, Moffat himself spent large swaths of series 5 doing the same!

I’m not really sure how to parse Moffat’s comment about companions having crushes on the Doctor, but I do want to stipulate that this trend of everybody falling in love with the Doctor is one of my least favorite aspects of the new series.

In short, I think that the very best thing Moffat could do for the show would be to write down all the requirements he thinks a companion should have, and then deliberately scribble them out and write a companion that violates as many of his requirements as possible. Because fuck “the rules”. Because adventures are for everybody, or they should be, and it breaks my heart to see the Doctor, of all people–a trickster figure uniquely qualified to break rules–endlessly select from the tiny subset of society that is young, well-off, abled, cisgender, pretty white British women.

Radical Inclusiveness: or, Why Hufflepuff is the Best House

We spend a lot of our lives being told that we’re not good enough. (Enough for what, the obvious question, doesn’t come up nearly as often as it should.) You don’t get to do X–sorry, you just don’t meet The Qualifications. Thirteen women met or exceeded NASA’s requirements for the Mercury program, except that NASA required experience as a pilot. The women started pilot training. NASA changed the rules to require experience piloting military aircraft, and the military at the time didn’t let women fly. See how neat that is? Sorry, we’d love to qualify you for spaceflight, but it’s these requirements, see?

And the truth, then and now, is that a lot of The Rules are bullshit, and are there to keep the “wrong sort” out. Therein lies a bit of the genius of Doctor Who, by the way: the Doctor is a trickster figure, who isn’t always bound by rules, who has the power to distinguish the sensible rules from the bullshit ones. The Doctor has invited princesses and hooligans aboard the TARDIS, and he’s treated them the same. That’s a powerful message. There’s no entrance exam. You don’t need experience piloting any sort of aircraft. You’re companion material just as you are. Not just inclusiveness, but radical inclusiveness. Not only Hollywood-anyone, but anyone-anyone.

It makes me think of the least defined and most overlooked house in Harry Potter, Hufflepuff. Nobody seems to know much about Hufflepuff for the first few books; they’re just sort of… there, unlike Gryffindor (brave!), Ravenclaw (smart!) or Slytherin (inbred elitists!). It isn’t until book five that we finally find out what the organizing principle behind Hufflepuff House is:

Said Slytherin, “We’ll teach just those
Whose ancestry’s purest.”
Said Ravenclaw, “We’ll teach those whose
Intelligence is surest.”

Said Gryffindor, “We’ll teach all those
With brave deeds to their name.”
Said Hufflepuff, “I’ll teach the lot
And treat them just the same.”

Catch that? Hufflepuff isn’t the house of last resort; it’s the only house that deliberately eschews bullshit entrance exams. Because fuck them; there’s no guarantee that they’ll produce a better wizard or whatever–it’s the Hogwarts curriculum and the student’s own work ethic that determines thatand every indication that they both raise meaningless walls between people who really should be working together and create feelings of inadequacy in at least some of the students in them. You don’t have to prove yourself, in Hufflepuff. You want to learn? That’s all that matters. Pull up a chair and let’s do magic.

And that, in the face of a relentless onslaught of stories about the chosen one, the special one, the one marked by destiny to do great whatever, is a radical notion. One that Doctor Who, thanks to its trickster hero, is uniquely qualified to propagate. And that’s why my fondest hope for a companion is an unlikely one–one unlike companions of the past, maybe one selected by the Doctor before s/he has a chance to prove him/herself.* Because you know what’s bullshit? It’s our stories telling people who are female/Black/Native/Asian/queer/disabled/whatever that the best they can hope for is to be inspiration and help to the people who really matter to the story.

It’s time for us to call it bullshit, loudly, and say that everyone matters. No more tests. No more proving yourself. You’re fine. You’re exactly what the Doctor ordered, not despite whatever’s slowing you down, but because of it.

(Continued at Radical Inclusiveness 2: or, Dear Mr Moffatt.)

* It’s true that some past companions have stowed away–I mean, “self selected”. But, as I’ll discuss when I finish my piece on Tegan, the show never really explored the ramifications of this, and I’d really like it to.

 

Time Lord’s Road To Global Domination – Anticipation Of Year 49

I opened my mailbox and found the Doctor inside….Well, on a magazine actually BUT it’s a wonderful article in EW.

My beloved Doctor, this amazing creature I share with millions around the world, is ready to return.

The article, and some of the comments made there in,  started my wheels turning. The impact if the Whoniverse and The Tao of Who on popular culture. Especially the impact this very Brit style of thinking/ ideals has on American Culture.

How do these questions impact this blog and the ideals, outlook and discussions we provoke?

I don’t know as of yet……I can’t wait to find out. 

We face the loss of old companions and the introduction of new. There are rumors flying about the return of River Song AND my beloved Captain Jack Harkness.

I’m excited, the anticipation of new adventures, new characters and brilliant writing have me twitching like a chihuahua after a meth cookie. I hope the rest of you are as ”GIDDY” as I am, and we happily dissect each episode and have spirited witty debates over every nuance of amazing writing.

 

The Russell T. Davies Parent Trap

“When you wake up, you’ll have a Mum and Dad.”
-The Doctor, Big Bang Two

One of the elements that Russell T. David bought to the show in the reboot was the companions’ family, which are used to ground the character in reality and show us more about the character by showing us the nature and nurture elements that made the companions who they are.

Rose was raised by a single mother.  They were poor, but Jackie did her best for her daughter, standing up to the strange man who abducted her, putting herself in danger to protect her and most impressive, letting her do the right thing even though it goes against what Jackie wants and her instinct to protect her baby girl.

Rose’s father died when she was very young, but through the magic of the TARDIS, we get to meet Pete Tyler.  Pete is likable and gave his life up to save his wife, child and world despite failing as a husband, father and man in other areas.

To be honest, I never warmed to Pete Tyler from the alternate world (hereby known as Pete 2.)  He was not a father and did not seem willing to take on that role until Doomsday when he saved her but considering he didn’t return with Jackie and Mickey in Journey’s End, I feel that really had more to do with Jackie giving him an ear full.

Martha’s mother is shown as a villain for most of the series, working with some shady seeming people poisoning her against The Doctor.  She is not doing this to get the Doctor, but her love for her daughter is being used against her.  She is a pawn in the Master’s game, trying to protect her daughter but ultimately working against that.  Francine gets her redemption by not killing the Master.  (For my opinions on killing the Master, see He Was So Good To My Father.)

Martha’s father had far less screen time than her mother.  We first see Clive siding with his young gold digging girlfriend over his aggressive ex-wife in the fight that ruined his only son’s 21st birthday.  It’s a quick flash of the family but it shows a lot about Clive.  He is a man in a mid-life crisis trying to have fun now that he’s free from Francine’s iron fist and being taken for a fool by this other woman.  I had very little sympathy with him but when it comes time for him to play his part in the Master’s plan, he warns Martha, even though he is very clearly putting himself at risk.  He, like Pete before him, is willing to give his life to protect his family.

Donna’s mother is a very dominating woman.  She loves her daughter and wants what’s best for her but instead of encouraging her, the way The Doctor does, Sylvia is constantly nagging at her in order for Donna to improve her life.  Sylvia was never really given a chance to shine like the other mothers but we saw her potential in how quick and resourceful she was to save her father from ATMOS.

Donna’s father, Geoff, died between The Runaway Bride at Christmas 2006 and season 4 in 2008.  Geoff was meant to be in season 4 as Donna’s ally under Sylvia’s iron first, however the actor Howard Attfield passed away in early production so Wilfred Mott was re-modelled from the extremely minor character in The Voyage of The Damned to Geoff’s role as Donna’s grandfather and the other side of the generation gap.

Geoff and Sylvia Noble were meant to be together and that would have made them the first only parents-of-a-companion to be together during Russell T. Davis’ era.

…Unless you count Jackie and Pete 2 getting together in Doomsday.

What?

That would never work.  There are the cultural and social differences that make them different people.  Unlike the metacrisis, they do not share a past, even if it’s just memories for one.  Oh, it’s implied they are still together in Journey’s End but Pete 2 didn’t join Jackie and Mickey: well clearly that’s not a happy marriage.  Maybe they got a divorce like the Jones.

What?

Is it heavily implied Clive and Francine got back together by how Clive talks about protecting his family in The Last of the Timelords?  Stockolm syndrome!  Yes, it may be the Master who has them prisoner but they are prisoners together and there is that strong traumatic bond.  They are not working over the issues that went wrong in their marriage that led to the divorce.  They will still be there.  Clive and Francine along with daughter Tish were left traumatised by the year that never was with Martha, implying lasting affects when she returned in season 4.  If those two have rekindled their relationship, it’s probably not all that healthy or won’t stand the test of time.

For Martha, the divorce is the driving factor why she went with the Doctor but it is not because she wants her parents to get back together and everything to be as it was before, but because of the stress it caused: everyone got upset, it ruined her brother’s 21st birthday and Martha was the stone that everyone leaned on.  It was the stress of these two forces bashing their heads together and the shockwaves it let off that drove Martha away.  If this had to be fixed, it would be by these two getting over each other, not back together or scarred for life.

For Rose, her parents are so perfectly crafted in being the nature and nurture that this girl comes from.  When Pete was alive, Jackie needed to be constantly yanking on his lead to keep him from wasting money on crazy schemes, to keep him from cheating with every other woman who even glances at him and knock sense in to him.  Because of that, Jackie’s view of men was that they were on good-for-nothing animals that have to be controlled, something that without a strong male role model to counterbalance this, she imprinted on to her daughter.  That is part of the reason the Doctor amazed her so much.  “He’s not a boyfriend, he’s better than that.” (The Christmas Invasion.)

But Pete wasn’t completely useless.  Although he wasn’t always moral when it came to getting his leg over, he had a strong sense of right and wrong, a sense of adventure and an open mind when it came to things that are possible in the Whoniverse.  These are three qualities that Rose did not get from her mother.

Yes it was sad when Pete died because if (i) “OMG! Pete!  But are so awesome” and (ii) “Rose’s dad is dying.  I have so much feels for her.  Come here so I can hug you” but not because of “NOOO!  My Pete/Jackie ship is sinking.  DAVIES!!!”  Whether or not Pete 2 and Jackie makes sense and/or works, this was not a ‘ship people was rallying for, well maybe when they were put in the same room together and sparks just flew with two great actors giving an incredible romantic, sad and funny performance, but that’s not the point.

The point is, this was another quick-fix relationship that didn’t need fixing and only works because the plot requires sticking the Rose’s supporting cast behind the wall with her so they don’t leak out over the rest of the series which didn’t really work out.  Again, if Jackie needed an happy ending, why with the copy of the husband that died almost two decades ago.  It would be more interesting to see Jackie hook up with someone – say Howard, the fruit guy she was seeing during The Christmas Invasion – and how that relationship plays out over season 2 with Howard meeting Rose, The Doctor and less friendly aliens.

I am not against happiness or romance but I don’t like these quick-fix romances that Russell T. Davies kept doing.  I don’t see it as a happy ending to magic away or ignore problems.  I see it as a happy ending to work through problems or move on.  I also think that the quick-fix of reuniting parents is a really bad message: Being raised by a single parent, be it through the couple splitting up or a parent dying is more normal than the traditional nuclear family now-a-days.  There is nothing wrong with that but still Russell T. Davies is trying to fix it.

The really annoying thing is that I know he can do better.  In the Sarah Jane Adventures, he had Maria’s parent’s divorce and the fourteen year old girl taking it badly but the parents didn’t get back together.  They moved on be it to someone else or somewhere else.  Maria learnt to accept that her parents weren’t getting back together and this was the spin-off for children.

Goodbye Dr Liz Shaw

[Crossposted from my blog at tansyrr.com]

We’ve lost many actors and creators from Classic Who over the last couple of years. When Elisabeth Sladen died, I was gutted, and simply couldn’t talk about it. Her character had been so important to me as a child, and had continued to be relevant and important through my adult life. The fact that she was still working, still playing the character on screen, made it more immediate. I never blogged about the loss of Elisabeth Sladen, or talked about it much, and even turned down the request to give a toast in her honour, because I couldn’t find the words.

Only when I heard in the last week that Caroline John had died did I start thinking about how important her character had been to me, too. I’m a lot less emotionally invested in Liz Shaw as a character, but she was a huge influence and role model for me – specifically the Liz Shaw of Spearhead from Space, the story which rebooted Doctor Who from the black and white 1960′s to the colour 1970′s.

Everyone remembers the Jon Pertwee era of Classic Who as being about the Doctor, representing the hippies and the scientists, in regular conflict with the Brigadier and UNIT, representing the military solution, despite taking resources from them without any apparent qualms. In fact, the Brigadier is quite accommodating to the Doctor, who rarely does more than roll his eyes at the use of guns in dealing with aliens, and the two of them riff good-naturedly against each other while saving the world.

Liz Shaw, who is our point of view story for a large part of Spearhead from Space, criticises the military and their way of doing things more in that first story than I think the Third Doctor does for his entire five year run. She is cynical and amused by UNIT and its military solutions, but also very much a skeptic about aliens, who has to learn fast that she is wrong (about the aliens thing) and adapt. Which she does – she may start out as something of a Dana Scully, but once she sees what is happening, her scientific mind proves to be more than up to the challenge. She is an assistant to the Doctor, yes, but she is very much portrayed as his intellectual equal, and while she never wanted to be part of UNIT, the scientific challenge is enough to keep her around (for a while).

And oh, it burns me every time one of them calls her Miss Shaw. I know it’s the 70′s, but she’s a freaking DOCTOR, she earned that title, and the script still occasionally treats her like she’s a dolly bird brought in to make the tea (though that, of course, is Benton). Still, Caroline John rose above it, and despite the mini-skirts and big hair, proved to be a capable and inspiring female scientist.

More importantly, she left. Now, Caroline John left for two reasons – because the production staff felt that having a companion who was the intellectual equal of the Doctor wasn’t the direction they wanted to go in, and also because the actress was pregnant and needed to quit in any case. Because this was decided after the filming of Season 7, there was no ‘final’ story, no leaving scene for Liz Shaw. Fans have often complained about this, because that is what fans do. But I kind of love the way she’s written out – the beginning of Terror of the Autons, the first story of the next season, makes it clear that Liz has gone back to Cambridge to continue her work, and that the Doctor isn’t happy about it.

She has, in short, better things to do. “It was fun, Doctor but… I’m busy.” (The Brigadier even says at this point that she was overqualified for the role as the Doctor’s assistant as he only needs someone to pass him test tubes and tell him how brilliant he is – which feels like a bit of a dig at the behind the scenes decision!) Liz’s independence is part of what makes her such an original and awesome companion character, and the critical regard so many viewers have for season 7 has a lot to do with the role that she played.

i09 article on How Caroline John Helped Save Doctor Who.

Calapine posts about Caroline John and Liz Shaw and provides time stamps for the following long YouTube interview:

A lovely tribute to an unforgettable character, and an important woman in the history of Doctor Who, by Babelcolour: