Posts Tagged With: doctor who

Have I Got Whos For You (part 978)

This week: as the recent series of The X-Files draws to a close, speculation mounts as to exactly what happened in ‘The Lost Art of Forehead Sweat’, and what it could possibly have to do with Doctor Who.

News breaks of Christopher Eccleston’s impending arrival at Comic Con.

And Peter Capaldi turns sixty. To which we say Happy Birthday, sir. May all your camels be fertile, and may the wind be always at your back, except when you’re standing at the edge of the harbour.

D

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My hat, it has three corners

Please excuse the radio silence in here this last couple of weeks. I’m still trying to get this book finished, and I think it will be worth it. I have set myself a self-imposed deadline (my 40th birthday, which is imminent) for a first draft. It’s manageable provided I focus, which means that certain things – like this blog – have rather fallen by the wayside of late.

We do have a few interesting posts coming your way imminently, but I’m still writing for The Doctor Who Companion, including a rather interesting piece on hats that you might want to check out. We arranged it for Wear A Hat Day, which took place at the end of March in aid of brain tumour research. The notion of the Doctor’s headgear has been a talking point for years, of course,  although lately it’s mostly a bunch of tedious memes about fezzes, which are not and have never been in any way cool. Here’s the TL:DR version – the Doctor used to wear a hat because everyone else did. It’s only later that it became a plot point, rather than a simple fashion accessory.

(I received several comments about this one on Twitter, but the best read “You talk to him.” / “No, you talk to him.”)

Still, it did give me the opportunity to wonder about the Doctors who generally didn’t wear a hat, and how they might have looked if they did.

I think the Eighth works quite well, although it’s not quite as settled on his head as I’d like it to be; it looks like he’s got a ferret bobbing underneath it. The same applies for Nine, although I do like the idea of the Doctor going to a Guns ‘n’ Roses concert (this is Guns ‘n’ Roses in their heyday, not that group of session musicians Axl Rose toured with a couple of years back) and chilling backstage with the band. And if the Twelfth was wearing a white suit, he’d look a little bit like Herr Starr from Preacher.

Twelve’s refusal to wear any sort of headgear has often vexed me, because he’d look good in a hat, particularly during his grumpy season.

Yes. Well.

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Doctor Who and the Collaborative Poem

It’s International Poetry Day
And thus I just popped in to say
That I used to write a lot of it
Before realising it was mostly shit.

Sometimes when you write for an audience you learn a few things about yourself. When I was doing my A-levels I wrote poetry as a way of expressing the angst of a lovesick teenager. Odes to girl-of-the-week (that’s a little harsh; there were only three or four) flowed off the tongue with all the usual mixed metaphors and ill-advised cliches; next week it would be someone else. It was like that Stevie Wonder album where each song is dedicated to a different girl, something The Beautiful South parodied in ‘Song For Whoever’. Rosalind? I have forgot that name, and that name’s woe.

Of the substantial block I wrote over the next four or five years there is only one that I still like; everything else is garbage. The moment I realised this was the moment I started doing performance poetry, and adapting my writing style to suit the ageing beatniks who hung out in the local arts centre; they were a good crowd and one of them is a very talented published writer whom we always knew was destined for greatness. I got on with them, but found the poetry was suffering. It seemed a little more egocentric, more applause-orientated, than the other stuff I’d written – carefully laid-out free verse that was designed to be looked at, rather than heard. So I stopped. Years later I went back and realised the free verse was similarly dreadful. I make no apologies. Sometimes these things are like a bad curry; it’s simply a matter of getting it out of your system.

So I have no idea what’s new in poetry or what people are listening to; I just go back to the old favourites: Duffy, Heaney, Hughes, Hart Crane, and e.e. cummings (a few feet away, on my pine bookshelf, sits his collected poems, the title scandalously capitalised). These days I stick to the prose. I don’t even write songs anymore. A little streamlining never hurt anyone. “You should stick to what you’re good at, and I’m good at being a priest.”

My regular readers (both of you) will recall that a while back I did a crowd-sourced short story that involved people adding a sentence at a time until we had something tangible; I then added a couple of pictures and Brigadier’s your uncle. Today’s exercise is even more bizarre: I had the group submit random numbers. Any number they liked, as long as it came between 1 and 300. The thread swiftly exploded and I managed to get all the data I needed in a matter of minutes.

And then, using a bizarre and convoluted system that only I understand (and will not explain) I mined the transcripts (thanks, Chrissy) and pulled out the corresponding dialogue. And here, for the benefit of the general public, is what may be the world’s first crowd-sourced Doctor Who poem. Also possibly the last.

Here we go…

Wilson’s dead. Inform the Emperor Dalek
it slipped my memory. You see, I’m going for a little trip myself.
Oh, yes, yes, indeed, yes.
Is that you, Yates? Where are you?
So they’re abandoning us. They’re not even going to try

and seal the shaft. Deja Vu.
You’re sure he’s still in bed?
You are interrupting me. There’s nothing to forgive
No doubt, I shall join them.
Just get down here. Come to me.
Where am I? Let me out!

Of course I’m real. Do you know
what I did for a job when they threw me out of school?
Go along and see. Go along and see.

– Well, possibly she’s taking a stroll in the garden.
– What do you mean?
– I mean, I suppose it’s time I should be going.
– Yes, I know, but he was trying to help you.

Hey hey! Mama mia! Bellissima.
All right, I’ll take it. Greyhound
to Trap One. We will survive. We will survive. Now you will help us.

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Have I Got Whos For You (Part 6)

This week, in Whovania, Bill rises to the Tide Pod challenge.

“And you’re sure it’s OK for me to eat this?”

Elsewhere, a deleted scene from ‘The Zygon Inversion’ shows that Peter Capaldi wasn’t on his own in that playground.

A new publicity still from Torchwood does the rounds on social media.

And the Doctor explains to Clara just why he got kicked off that United Airlines flight.

Happy World Book Day!

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The new Doctor Who logo, dissected

…I mean, it’s a typeface. A bloody typeface!

Things happen in that slow downtime between a reveal and a follow-up. The fandom gets cranky. There is a clamoured cry for new information, a grumbling in communities about when we’re going to get to see new footage or get plot details, tempered with a general sense of annoyance when they actually arrive because I didn’t want to know anything about the new series and why are you dropping all these spoilers in here? Whether the news dripfeeds in via convention soundbites or fan theory rendered flesh, either there’s too much information or not enough. The poor old BBC, it seems, can’t seem to do right for doing wrong.

And then last night we had fresh information. Well, a logo. It’s accompanied by an image of Jodie Whittaker standing on a hill. There is a sixteen-second audio ident going viral on YouTube. None of it is anything to write home about. But pity us poor journalists. Sometimes you have to keep the hit counters up even when there’s bugger all to actually discuss. There is a saying that no news is good news, which is true for just about everyone except the people who get paid to write it.

It didn’t take the Radio Times long to jump on the bandwagon. Not content with publicising fan-generated titles a few weeks ago (I’m not linking to that; it’s a matter of principle), they decided to apply a little creative thinking to the new logo and point out the rather obvious-looking distortion in the last two letters of the words ‘Doctor Who’ that make it look like a Venus symbol knocked on its side. So, you know, obviously it’s a woman. For my part, I am getting Prince flashbacks.

To be fair, it wouldn’t be the first time. Long-time readers of this blog may (but probably won’t) recall a thing I wrote a while back entitled The Art of Looking Sideways, in which I talked about whether or not we could really say that Theta Sigma was the Doctor’s real name and concluded that it almost certainly wasn’t, but that there was a cheeky jibe by the production team when you shift round some of the components. It’s a precursor to Peter Capaldi’s appearance in World War Z, in which I’m told he plays a scientist at the World Health Organisation. He is quite literally Doctor Who. Just don’t tell the noobs; they get really irritable when you try and tell them it’s an acceptable name.

Assuming you’ve seen the Eighth Doctor movie, you’ll be aware that there’s only one quote that regularly makes the meme lists: it’s the Doctor talking about patterns that aren’t there. And I’ll confess that it’s this that comes to mind when I consider the desperate search for hidden information that occurs every time there’s a publicity still, a title drop or (god preserve us) an actual teaser, resulting in arguments and alarums and hundred-comment Reddit threads. Except that I admit that my reaction to the Venus theory was to point and laugh. As deconstructions go, it was pathetic. A six-year-old’s comprehension exercise contains more insight. Hidden Messages? I fart in your general direction. You wouldn’t know a hidden message if it jumped out in an orange shell suit and yelled “I’M HERE, YOU NUMBSKULLS!”

I was in one of my more sensible groups and we were discussing the Venus thing and its connections with Theta Sigma – a theory one of us said he hoped wasn’t true, because “then the nerds had won”.

“That D with a line through it looks a bit like an ice lolly knocked on its side,” I said. “Any thoughts as to what it might mean?”
“Martian ice cream?” was the response I got. “Plus, look at the way the end of the H lines up with the O. It looks like a 10, so…”

Light bulb.

Regular readers will also be aware that I run a series called God Is In The Detail, which pokes light-hearted fun at fan theory to the extent that whenever I post any links to it on Facebook, Poe’s law goes into overdrive and everyone starts telling me I have too much free time (which is probably true in any case, but still). Anyway, that’s the vibe I had in mind when I produced this. And I’d just like to point out that as soon as it was uploaded, I went outside in the garden to play with Edward, so I do get out occasionally.

There. Stick that in your pipe and smoke it, Radio Times.

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The War Master in the Night Garden

In 2007, Doctor Who fans were gifted with the finest Master to grace the screen since Roger Delgado. He was suave, he was eloquent, he was angry and malicious, he was…well, he was British, which probably helped. Unfortunately he lasted only a minute and a half before getting shot by an insect and regenerating into John Simm.

It was such a pity. Derek Jacobi was born to play the Master, and for just a moment or two, he did it brilliantly. His replacement was a gurning, dancing clown, manic and ridiculous and – it must be acknowledged – perfectly matched opposite Tennant, but not always an easy watch. Things didn’t improve when he returned with a hoodie, an inexplicable penchant for cannibalism and a secret plan for cloning himself, leading to what is affectionately known as the show’s Being John Malkovich moment. It would be years before we saw the version of the Simm Master that I’d always wanted to see – sneering, reserved and (for a change) respectably dressed, and even if that turns out to be his last appearance, his turn in ‘The Doctor Falls’ was a cracking way to go out.

But enough of this, because we were here to discuss Jacobi – who, having turned in a memorable performance in ‘Utopia’, promptly toddled away back into the land of romantic comedy-dramas, bad sitcoms and the occasional CBeebies bedtime story. He tangoed in Halifax, helped build the Titanic and endured a love-hate relationship with Magneto. Recently we saw him lock horns with the Cornley Polytechnic Drama Society in A Christmas Carol Goes Wrong. But of his Master, there was nothing – until last December, when he teamed up for a Big Finish audio series entitled Only The Good, in which we got to see the reincarnated renegade in action during the Time War, before he fled to the end of the universe.

What to say about the War Master set? Well, it’s broadly good, although it opens with a largely inconsequential opening story with people I didn’t care about on a forgettable planet that’s being besieged by Daleks. Stories two and four are better, although in one of them the Master is at his most un-Masterlike (the title of this particular story is ‘The Good Master’, so it’s not exactly a spoiler) and it’s initially rather disconcerting to witness him behaving like the disguised human he would eventually become. Of the four, ‘Sky Man’ is far and away the best, despite – or perhaps because – it is a story in which the Master barely features, instead allowing his erstwhile companion Cole to take centre stage. Cole himself is worthy, if rather dull, but if the story’s conclusion is more or less mapped out in its opening conversation it’s still devastatingly effective when it happens.

It also definitively answers one of the questions that the fans have been arguing about for years: namely, was it really Jacobi’s Master in the Time War? The naysayers point out that he states he was ‘a naked child found on the coast of the silver devastation’; similarly John Smith remembers growing up in Ireland with his parents Sydney and Verity, but that’s fabricated, fourth wall-breaking codswallop. This is a slightly younger, sprightlier version of the man we saw in ‘Utopia’ – a man saddled with the weight of twenty years of fruitless labour and a lifetime of false memories, plus the aforementioned insect. Bringing him back was a no-brainer. If you want a resurrected Time War Master, and Jacobi is a narrative fit, why the hell wouldn’t you sign him up if he was available and willing?

It’s a pity we won’t get to see this incarnation meet up with John Hurt: that would have been a heck of a show (and yes, I know it kind of undermines the series 3 arc; don’t tell me they couldn’t have found a workaround for that). But three decent stories out of four seems to be par for the course for BF sets these days, and it’s fun to hear Jacobi casually toss aside supporting characters like sacrificial pawns, outwit the Daleks and occasionally struggle with his conscience – or at least appear to struggle. Unfortunately the story’s conclusion makes a second series rather difficult, for reasons I won’t give away (although you’ve likely figured them out already), and it seems a shame to essentially ditch this new incarnation of the Master just as we’re getting to know him.

But here’s how you terrify your kids: you get them to sit through ‘Utopia’ just before bed, and then you put the In The Night Garden soundtrack on the bedroom CD player.

My views on In The Night Garden are well-documented, if by well-documented you mean eight hundred and fifty words defending the BBC and a couple of doctored photos. I love it because it works and because I do not understand why it works. If that sounds a little odd, it’s because these days it’s mostly anomalous – fan theory is endemic in just about everything, and it is a strange phenomenon, in this enlightened age, to enjoy something because you don’t get it. Twenty-first century media is all about the How and Why, and it’s killing the industry: the rare glimpses behind the scenes that we got in the 70s and 80s are now a regular fixture; outtakes and bloopers have spread like a rash on YouTube; we know everything about a story before we see even the first trailer. One can only hope that Chibnall’s reign – taking place, as it does, behind a security net to rival a Presidential visit, or even a Blade Runner location shoot – goes some way towards reinvigorating the show and bringing back the sense of wonder it once had, and he’s only going to manage that if he slows down on the goddamn press releases.

But no, In The Night Garden is wonderful television: calm, serene and just the right side of weird. Of course grown-ups find it odd. Grown-ups aren’t the target audience. This is TV for the very young, meticulously researched and painstakingly constructed, something that seems to escape the notice of the many parents I talk to who still seem to labour under the ridiculous misapprehension that when the BBC are making TV programmes they simply turn up in a TV studio and wing it. That’s not how it’s done, and the end results look weird because to babies and toddlers the whole world looks weird. (If people really think this is a new thing, they’d be wise to hop onto YouTube and find the little surviving footage that still exists of the oft-forgotten Wizbit. If you’re going to tell me that they’re screwing up our children, it is vital to acknowledge that the process began at least thirty years ago, and probably long before that.)

A while ago, I did a mashup that fused footage from Bing Bunny with some of Mark Rylance’s Wolf Hall dialogue. It was reasonably coherent, and exploring the darker side of Flop’s affable, endless patient personality was the most fun I’d had in a good long while. It also got me into hot water with Aardman, who didn’t like the juxtaposition of ‘adult material’ with programmes meant for kids. The bottom line is that however many disclaimers you include in the description – and however many warnings you tag on the front end – parents are going to let their children watch it, and Aardman were understandably twitchy about compromising the sickeningly wholesome reputation of one of their flagship programmes. (There was the small matter of copyright infringement as well, which I’ve always thought was a little petty given that it was an unmonetised video, but that’s their prerogative.)

But there I was, listening to the War Master set and thinking…wouldn’t it be wonderful to fuse some of the dialogue from this and dump it into a few of the Night Garden episodes? What if the lurid, excessively safe world of Igglepiggle and his friends were bombarded by a quite different and overtly sinister narrator who sounded exactly like the one whose unreconstructed tenor warbles through each of the show’s 100-odd episodes? What if we piled on the filters, added a bit of slow motion and ran the theme song through the editing suite? What could possibly go wrong?

The results, I hope, speak for themselves – and if they’re a little freakish, that’s a good thing. This owes a lot to the black and white Teletubbies video that’s doing the rounds (you know, the one with Joy Division), although it’s less of a mood piece and more of a meditation; it even attempts to tell some sort of story. There are two bits of dialogue, by the way, lifted directly from ‘Utopia’ rather than the War Master set; bonus points to anyone who can work out what they are. And yes, the ending is a bit Blackadder. No apologies.

Oh, and it’s in black and white because it looks cool. Isn’t that a pip?

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Have I Got Whos For You (Season Pass Edition)

This week at Brian of Morbius, as news emerges of Elton John’s Grand Farewell Tour That’s Going To Take Three Years, an unexpected guest singalong at one of his concerts prompts concerns over cultural appropriation.

Elsewhere, proceedings at the Superbowl are interrupted by an unexpected pitch invasion.

An exclusive still emerges from a Doctor Who casting session that was mercifully denied the green light of approval.

And elsewhere, in the TARDIS…

SCORCHIO!

 

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The Thirteenth Doctor Revealed. Sort of

Ha! She’s fallen out of the TARDIS! That’s funny, innit? OBVIOUSLY the TARDIS doesn’t want a woman Doctor and OBVIOUSLY it was reacting to this BLASPHEMY and OBVIOUSLY I’m going to ignore the fact that this has happened every time the Doctor’s regenerated, at least since 2005. You may take this as a sign, my friends, a sign that the show we know and love is doomed. I’m now going to sit back and relax over the next few months and watch as Doctor Who goes completely down the pan. And when it does, I won’t say I told you so. Well, I will. Repeatedly, and as loudly as I possibly can.

I unfollowed a Who-themed group this week after it became saturated with people who have made it their life’s work to complain about Jodie Whittaker’s casting. It’s what happens when you’re hands off with moderation. It’s also what happens when you get a bunch of idiots complaining that IF YOU DO NOT LIKE THE NEW DOCTOR YOU ARE NOT A TRUE FAN”, which is confrontational, unnecessary and also complete bollocks. For one thing, the words ‘true fan’ are an absurdly reductionist maxim of a notoriously complicated subject, one that it is not possible to assess objectively simply because Doctor Who is so many things to so many people. No one gets to make that call, not even me. There are plenty of sane, sensible people who are wary about the new Doctor, and to suggest that cautious optimism or blind ambivalence is a sign of a deep-rooted misogyny and pathological fear of change is frankly laughable.

So there are two types of fans: those who shout that the new Doctor will be a disaster, and those who shout back. Those of us in the middle, pleading for moderation and constructive discussion on both sides, have found ourselves largely neutered. I have put up with it for as long as I can. I’m not someone who actively avoids toxic situations – journalists build a career out of conflict, and if you stray too far into the echo chamber it is impossible to find your way out, but even I have my limits. There are better groups run and populated by people with calmer dispositions and sensible genital size. Enough. I will stick to the ridiculous memes, and the occasional video.

Last year I figured out something. People are far more likely to engage with video content if it’s on Facebook. Never mind the number of people you reach; actual post engagement is much higher. In other words, it apparently takes less effort to click and watch a video when it is embedded directly in a timeline feed than it does to click and watch a video that is on YouTube. I refuse to accept that this is a technical issue. I think it’s just laziness, but I can live with that.

The upshot of this is that my YouTube stats are, with one or two exceptions, looking a little bit sad these days, but that’s OK. That’s a reflection of evolving viewing habits. Times must change, and so must I, as a wise man once said, before he aged twenty-five years and then turned into a woman, which is like a Greek myth or something.

So no one has watched the YouTube version of this, but on Facebook, it sort of exploded a bit.

Seriously, this took me, like, an hour. Well, a little longer. I also had to watch enough of Trust Me to find something that would work for the Doctor’s punch line; it’s not quite the ‘bollocks’ I was  hoping for but it’ll do. It’s a little weird that the TARDIS lands in a forest twice in the same series, but it did make editing a little bit easier. The ambient music in the background comes, needless to say, from Cryo Chamber, who are my new favourites.

My page likes jumped about ten per cent off the back of this one video. It’s not even very good, to be honest. I can’t think what else to write about it, except that it seemed like such an obvious joke I’m amazed I didn’t think it up months ago. A few of the dissenters used it as ammunition – “Ha! Yes, of course that’s what the Twelfth would do if he found he’d grown a pair of tits”, but that’s something I can live with. Matthew Graham didn’t expect Gene Hunt to become a poster boy for the Daily Mail, but that’s exactly what happened, so I suppose on a lesser scale I’m in good company. Brilliant.

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Adventures with the wife in space

A couple of years back we stopped off in a motorway services en route to a holiday at Butlins. I ordered coffee from Starbucks and, when the barista asked my name, requested ‘The Doctor’ and ‘Sarah Jane’.

To be honest, the absolute best thing to do in Starbucks is give your name as ‘Spartacus’, but I’ve never quite managed to be that brave. A knowing reference to the 70s, missed by the incredulous millennial who was serving me, would have to do. You take what you can get, although if it’s in Starbucks you rarely have change from a tenner. When I got outside Emily looked at the black scribble across the side of her cardboard container and raised an eyebrow.

“It was going to be ‘Romana’,” I admitted. “But I didn’t trust them to spell it properly.”

It’s a recurring theme. Emily is the voice of reason in my often hapless relationship with Doctor Who. What she lacks in experience she more than makes up for in common sense and general knowledge, and on top of this she’s usually right. I have a friend who has had to make a deal with his other half to keep their marriage intact: when they’re watching science fiction she is allowed four cynical remarks per episode “You know what it’s like,” he said to me.

“In our house, it’s the opposite,” I said. “I actively rely on Emily to beat on an episode that I was enjoying. It keeps me grounded. Besides, some of my best gags come from her.”

When I mentioned her in Facebook conversation the other week the question we received was “Which one’s the Doctor and which one’s the companion?”

“I’m the Doctor,” I said. “But she’s Romana. That should tell you all you need to know.”

It should tell you all you need to know, as well.

Anyway, it’s her birthday. Accordingly:

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The Face of Boe / Captain Jack connection

Sometimes, when you’re creating, you inadvertently open a can of worms. This is not necessarily a bad thing. Sometimes it is the only way to catch fish. But sometimes you wonder why you bothered. Actually, it’s less that, and more a sense of frustration that the joke has been missed, or that people would rather concentrate on the theory than the comedy. I suppose that’s the nature of fandom, but it is a little like banging your head against a brick wall. Truthfully there is not much to be said about the comedy for this little instalment – it sort of speaks for itself – and thus we will concentrate on the theory, at least for this morning. Business as usual next time, folks.

Let’s get the technical stuff out of the way. I was toying with the idea of redubbing the Face of Boe with Jack’s voice for a while last year: it was an easy edit, it makes total sense, and it has reasonable comic potential. The Face of Boe appears (properly; ‘Utopia’ doesn’t count, nor does ‘Journey’s End’) in precisely three episodes but there isn’t enough malleable footage in ‘The End of the World’; I stuck therefore with ‘New Earth’, in which the Face of Boe is dying and then isn’t, and ‘Gridlock’, in which he isn’t but then is. Mashed-in dialogue is partly from Doctor Who, partly from Torchwood, and inevitably there’s a bit of singing. Jack is by turns kinky and unexpectedly remorseful, which wasn’t quite the vibe I’d intended, but it sort of works. I had wanted to include ‘The Doctor And I’, but it just didn’t fit somehow. I don’t think we suffer for its absence.

Anyway: I uploaded the thing and it got a few laughs – but it also caused a reasonable amount of confusion in the community. “But…he – he is the Face of Boe!!” spluttered one user. “He said it in an episode! It was confirmed!” Other people were a little less spluttery but still a little put out. “He knew the Doctor,” said someone else. “Called him old friend when they’d never met. Last time he saw Jack outside of the Christmas special he told the Doctor back home they called him the Face of Boe. River Song’s vortex came from a handsome time traveller the headless monks got. It’s him.”

I won’t tell you what I said in private, because it probably breaks obscenity guidelines, but I did take it upon myself to reply to a few of those comments. The truth is – and thinking about it this, more than anything else, is what may have given me the idea to actually put this together – the Jack / Boe thing is one of the most frequently asked technical questions in any of the Doctor Who groups I visit. (The others, incidentally, are “Why did the Doctor start regenerating at Lake Silencio if he was on his final incarnation?”, and “Is the War Doctor really the Ninth Doctor?”, but seriously, let’s not go there today.)

It was the June 2007 when they first aired ‘The Last of the Time Lords’. I was twenty-nine and had just become a second-time father. Thomas wasn’t the easiest of babies and that summer was a heady mixture of sleepless nights, screaming fits and constant feeding, all accompanied by a red sling in which he had to be carried almost constantly, because it was the only way to stop the wailing. Emily would nap when she could and it was for this reason that I watched the series 3 finale without her: she would catch up later, with me standing in the doorway, hovering behind her whispering “Doctor…Doctor…” at the crucial moment. You have to have some fun.

But I remember watching that finale and then grabbing an old friend for a water cooler moment at the office the next morning. “Oh my gosh,” I said. “CAPTAIN JACK IS THE FACE OF BOE!” From what I’ve read, my reaction mirrored that of Barrowman, who allegedly jumped up and down and squealed a bit. Across the nation – the world, come to that, at least the parts of the world that got access to BBC programmes – the reaction was much the same, in all but one quarter, which would be the BBC herself. Because when the episode was repeated with a producer’s commentary, Russell T Davies was heard to mutter “Well, it’s as good an explanation for the Face of Boe as any”, only to have Julie Gardner tell him to “Stop backpedalling”.

Except…it’s watertight, isn’t it? It’s an established fact that Jack spends billions of years evolving into a giant head, isn’t it? Well, actually it isn’t. Things are never that concrete in Whovania, because if they were then we’d have no leeway for fan fiction. If the Fifth Doctor and Peri had gone straight from Sarn to Androzani, years of Big Finish releases with Peri and Erimem would be rendered obsolete. If we’d seen McGann regenerate into Eccleston at the beginning of ‘Rose’, there would be no place for the War Doctor. And if it were definitively and unambiguously established that the TARDIS had developed a fault on its journey to visit the Tribe of Gum, we’d never have had Hunters of the Burning Stone, and the world would be a much better place.

Here are the facts in the case of Jack vs. Boe:

1. The Face of Boe calls the Doctor ‘old friend’ when they meet in ‘New Earth’, despite only having met him the once (according to the Doctor).

2. An abandoned sequence in ‘A Good Man Goes To War’ would allegedly have seen Jack literally lose his head at the hands of the Headless Monks, surviving – but only as a head. This was shelved because of Barrowman’s involvement in Miracle Day.

3. In ‘The Pandorica Opens’, River states that she got her vortex manipulator “fresh off the wrist of a handsome time agent”, although that’s all the information we get.

4. As Jack bids farewell to the Doctor and Martha at the end of ‘The Last of the Time Lords’, he ruminates on his fear of physical ageing – something that is apparently happening, albeit as slowly as it affects Wolverine – and wonders what he will look like at the age of a million. He then mentions in passing that this sense of vanity was partly instilled by his youth, when his good looks made him a poster boy for the Boeshane Peninsula. “The Face of Boe, they called me,” he says, before trotting off to what turns out to be a memorable entrance in ‘Kiss Kiss Bang Bang’. (If you haven’t seen it, do so. He has a fight with Spike from Buffy. In a bar. With Blur playing in the background. It’s great.)

Let’s take them more or less one at a time. In the first instance, there’s no reason to suspect that Boe and the Doctor didn’t meet again after Platform One. It could be that the Doctor’s forgotten. Or that he’s lying. That’s something I get told a lot: whenever there is an apparent continuity error there is a chorus of comments reading “Rule one: the Doctor lies”. It’s mindlessly irritating, seeing as it’s not the Doctor’s rule, it’s actually River’s, and it’s a cheap way of explaining away an ambiguity that would probably make sense if you actually took the time to think about it, but it beats “Wibbly Wobbly Timey Wimey”, so I suppose I can live with it. It’s further possible that the Doctor and Boe had an adventure they agreed not to speak about with anyone, including each other. Perhaps it’s a cultural thing: perhaps that’s how the Boekind greet people they know. Or perhaps the Face of Boe has been ruminating on the fact that the Doctor saved his life a few years back, and considers him a friend as a consequence. Perhaps they’ve been messaging each other on Facebook. Pick one.

The scene with the Headless Monks is awkward simply because it was never filmed. It’s an abandoned sequence that is thus as canonical as, say, Lungbarrow – a story that effectively gave us the Doctor’s real name, but which sits rather uncomfortably within the whopping great list of Things You Can Believe If You Want To (a concept to which we’ll return, so remember it). If they didn’t show it, it didn’t happen. Actually, even if they did show it there’s a fair bit of leeway with retconning: 24 aired the death of a prominent character in season 5 but a couple of years later he was back, when it was discovered that we did not see what we thought we saw. River’s vortex manipulator may have come from Jack (with, it is implied, the hand still attached to it), but it does not follow from this that he had a run-in with the Monks – although the Monks aren’t necessary for Jack to become Boe, which I’ll explore in a moment.

The ‘Last of the Time Lords’ scene is a little more concrete, but even then it’s not exactly unambiguous. It’s connection by association – look, this is how tabloid newspapers work. They’ll tell you that there’s a new CBeebies series starring a female engineer, and then mention in passing that they no longer show Bob the Builder, and leave you to fill in the gaps. Before we know it there’s a minor frenzy about the BBC eschewing old favourites in favour of new, politically correct content, and everyone’s conveniently forgotten the fact that the Beeb washed their hands of Bob when HIT Entertainment gave him that disastrous makeover and a stupid Midlands accent.

Similarly, all this scene tells you is that Jack was called the Face of Boe by a bunch of people who might have already known about the real Face and thus applied it as a nickname. Because we’ve been wondering about the Face of Boe all series, it’s natural to assume the two are connected, but there’s no reason why they would be. As it stands, it’s clumsy shoehorning. It may have had the fans jumping out of their seats, but it’s a dreadful way to finish a scene. The dialogue is terrible. You don’t say “The Face of Boe, they called me” and then saunter away to an invisible door. It’s an unnecessary conversation dangle. No one does it. Not unless they’re deliberately baiting the Doctor and Martha, not to mention the people watching at home…oh, wait.

The funny thing about all this is that Jack could quite easily evolve into Boe without any of the kerfuffle with the Monks. We saw it in a Philip K. Dick short story, The Infinites, in which a three-man crew investigate a strange planet and find themselves undergoing rapidly accelerated evolution – millions of years pass in just a few hours. It has highly irradiated sentient hamsters made of pure energy. I swear I’m not making this up. The point is that the changes are marked by degenerating limbs and greatly swollen head size, marking an increased reliance on the cerebral cortex and, one would assume, the decrease of motor functions. From this, it’s quite feasible to imagine that Jack could turn into a giant head the older he gets. Perhaps it’s the way we’re going. It’s certainly the way it was going in WALL-E, where everyone was fat because they’d spent years puttering about in a small land. Sudden cosmic storms aside, you and I will probably never know.

Out on the convention circuit, the vibe among the cast and crew has come down in favour of Jack and Boe being one and the same. Barrowman believes it. So does Gardener. So, up to a point, does Davies, although that’s a bit more complicated. I’m not listing my sources; it’s well-documented. It has to be said that of the above, Davies is the only one who gets a vote, being largely responsible for the genesis and development of the character (yes, I know that Moffat penned those first episodes and half of Torchwood was written by Chibnall; work with me here). But even then it’s dangerous to assume that originating writers have total responsibility for the characters they create for the rest of time. There needs to be a handover point: otherwise it’s a slippery slope to the sort of petty legal wrangling we had after the Brigadier’s grandfather / great-uncle showed up in the Christmas episode. Or you get someone making an obvious joke about Jenny crashing into an asteroid and then the fans are up in arms because Big Finish have brought her back and WHAT ABOUT THE SANCTITY OF CANON? (And yes, I realise I talked earlier about the whole “If it didn’t happen on screen, it’s not canon” thing. It’s my blog; I’m allowed the occasional double standard.)

The bottom line is that this has been kept as ambiguous as possible simply because it’s better that way. It grates against the sensibilities of the modern Doctor Who fan. Unresolved plot strands do not sit comfortably with them: why not explain something if you can? But sometimes it’s better if you don’t know. The Italian Job has one of the best endings to any film ever, simply because it is left hanging, in the most literal sense of the word. We never found out if Fran and Peter survived at the end of Dawn of the Dead, but there is a fleeting sense of hope as they fly off into the sunset; the same sense of hope permeates The Shawshank Redemption (this is the novella we’re talking about – not the film, which ends on a more definitive point and which is arguably less successful as a result). No one gets the end of 2001, but drawing your own conclusions to the Rorschach that is the film’s final ten-minute sequence is, many ways, far more satisfying than anything that’s cleared up in the books.

Davies knows this. The man does have his faults, but he – like most sensible people – realised that giving Jack a designated end point essentially kills the joke. It also deflates any sense of tension in Torchwood, because you know that Jack will at some point be wheeled around in a glass case and get pregnant again, but that’s a by-product. Here’s my point: it’s actually fine if people want to believe that Jack becomes the Face of Boe. I more or less believe it myself. It’s as good an explanation for the character as we’ve come across, and the evidence for it – whilst not exactly overwhelming – is still a clear collection of hints that point towards a likely plot strand. “None of these things is any good on its own,” the boy’s grandmother tells him in The Witches. “It’s only when you put them all together that they begin to make a little sense.”

Still: a little sense may be as far as we get. Because it’s more fun if we don’t know. There is a greater sense of narrative satisfaction – at least there is for me – in having a character whose fate is unresolved than one whose life cannot be changed; Ebenezer Scrooge endeavoured to sponge away the writing on his gravestone and we must believe the same of Jack, however much a definitive ending to his story might please some of the fans. Jack might be the Face of Boe, and then next week it could all be undone in a heartbeat – that is the nature of the programme we love, and while I went through a period of getting annoyed about this, in recent months I’ve kind of got used to it. Certainty is the path to arrogance, and the older I get the less certain I am about things, and I’m learning to embrace, even revel in the ambiguities. So let’s rejoice in the fact that for all the speculation and fan theory and arguments about intended meaning, when all is said and done we really don’t know Jack. Christopher Bullock said that it was “impossible to be sure of any thing but Death and Taxes”. In the Whoniverse, we don’t even have the first one, and it’s better that way.

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