Posts Tagged With: donna noble

Back to the Future

If you were watching TV in the 1980s, there are certain things you will remember. The Vietnam veterans who were brilliant at taking down loan sharks despite their inability to actually shoot straight. David Hasselhoff running into the ocean in slow motion – and then, regrettably, running back out again. Richard Dean Anderson building a small explosive out of three rolls of parcel tape and a paperclip. Scott Bakula in a wig and heels. David Hasselhoff again, upstaged by a Trans Am. David Duchovny, in a wig and heels. And Tom Selleck somehow managing to make Hawaiian shirts look almost cool.

There was a technique to producing a memorable intro, and that was to talk over it. I say “In 1972”, you say “a crack commando unit”. I say “A shadowy flight into the dangerous world”, you say “of a man WHO DOES NOT EXIST”. I say “…hoping each time that his next leap”, you say “will be the leap home”, the unavoidable lump in your throat stemming from the knowledge that he never quite managed it. We knew those voiceovers as well as we knew the opening themes that followed, whether they were by Mike Post, or – actually, they were all by Mike Post, so let’s leave it there. In any event those voiceovers have entered fan lore and it is impossible to imagine the show without them. We still do them at parties. Perhaps that’s just me.

But Doctor Who has always had that opening theme, and it’s always been…well, very of its time, somehow, whatever time that happened to be. The titles have always been played over stars, or a swirling vortex, or weird camera effects – something abstract and general. You can’t really imagine it any other way. It’s difficult to envisage a Doctor Who that emulates that cheesy montage-style opening, replete with freeze frame stills of the leads, and shots of at least one explosion, or Dwight Schultz with a glove puppet.

Hence this.

Technical stuff first. It had to be Tennant. The ‘Voyage of the Damned’ speech that makes up the bulk of his narration practically lends itself to an 80s style intro (the BBC used it for at least one trailer back in 2007) and even if it hadn’t, there was no one else who could have pulled off that debonair, slightly irritating leading man pastiche. Smith is just too…English. As much as I love the Eleventh Doctor, his predecessor’s monumental impact with fans is easy to analyse: he’s the sort of person they grew up watching in the 1990s. He’s Fox Mulder, right down to the suit. Barrowman’s presence was a given. Casting a companion was trickier – I almost plumped for a selection until the moment I realised the shot of Tennant closing the TARDIS door with his fingers was ripe for inclusion – and he’s with Donna, so the decision was more or less made.

“Why Max?” asked Gareth, and various other people, so I explained. “It is scientific fact that any American sci-fi / private detective drama from the 1980s had an eccentric older character played by an established veteran, and he was usually called Max.”
“Is it? I can’t think of any at the moment. What examples are there? (So that I can say “oh, really?” or “ah, I haven’t seen that”.)
Hart To Hart. And. Um. Max from Ben Ten? OK, that may be it.”

Details aside, the casting of the comic relief veteran was standard practice, as evidenced by Macgyver and Magnum P.I., among others. Actually, when I think about it this whole thing was really just a reaction to this trailer, which I did years back and which I was unable to post on Facebook.

Right down to that shot of Barrowman hefting the gun. Which may be iconic one day. But not today. Tomorrow doesn’t look good either.

Music was provided by Philip Chance – I wandered around YouTube looking for appropriate rights-free synth-and-drum-machine combos for a good long while before I found what I was looking for. The post-production work was done in Adobe After Effects – which I downloaded specially – although I couldn’t have managed the grainy VHS look without the help of this tutorial. Basically it’s a question of whacking up the contrast and pasting over some noise effects. If you look at the bottom of the screen you’ll see a jagged line running throughout, which is supposed to be that poor tracking you always had when the heads needed cleaning.

“Do you see what I mean about the old-style 3D-ness, though?” said Gareth.

“I do,” I said, “because the process is basically the same. Basically you split the picture into three separate signals and then isolate the colour in each – one red, one blue, one green – and overlay them. Then you shift each one a few pixels to the left and right so that the different colours are very slightly out of sync. It’s not enough to make it look any worse than a less-than-brilliant VHS transfer – real 3D signals are completely separate and are headache inducing when watched with the naked eye – but it’s a similar principle.”

“These days, I’m all about wearable technology.”

It’s not perfect, but I got bored. Some projects have a clear beginning, a middle and an end. When you’re doing a montage you’re looking for clips that work. Intro parodies (as with the Magnum one above) are trickier but narrow down your scope considerably, so that it’s easy to tell when it’s done. When mashing up dialogue it’s usually a question of finding enough material that works and then chipping away at the bits that you don’t need until you’re telling the best story you can.

With something like this it’s harder. Should I move that frame a little more to the right? Up the blur to 60 rather than 50 per cent? How authentic does this need to look? What’s it going to look like after encoding? In the end I settled for “Well, you get the idea”, which is sometimes about the best you can do when you’re not actually getting paid for doing this stuff. At least you don’t have to worry about copyright.

Reaction was…variable. Lots of people liked it, but more than a few missed the point.

“Umm, shouldn’t it be ‘If NuWho was produced in the 80s’? Because there were new episodes of Doctor Who coming out in the 80s.” (Reaction: Yeah, I was being vague. It helps with the hit count.)

I will never understand the fetishization of VHS. (Reaction: That’s TOTALLY NOT WHAT I’M DOING, it’s just about authenticity.)

“One thing – Tennant would have been a pimply teenager in the 80s (or possibly a little kid, I’m not sure how old he is), and Capaldi looked more like Colin Baker.” (Reaction: Yeah, he does look like Colin Baker.)

“Have people actually forgotten that doctor who was in fact around during the eighties and still looked better than this?” (Reaction: No one’s forgotten. Why have you reminded us?)

“Doctor Who was around in the 80s and before and shot on video so what’s the point of this?” (Reaction: Ah yes. The old ‘What’s the point?’ maxim. It’s people like you who get arts funding cut.)

“But… there already were episodes made in the 80s…” (Reaction: You’re really not getting this, are you?)

Gaah. Look, it’s a parallel universe, right? A parallel universe where we never moved beyond VHS and cassette tapes and gigantic brick-sized mobile phones (glances at Samsung S7 on desk, shifts uncomfortably in office chair) and contemporary Doctor Who, when they eventually made it, looked like this. And you had to tape it off the TV and find you’d missed the last five minutes because the Videoplus got the timing wrong, so you’ll never see Peter Capaldi bust through that wall. And it looks rotten because when you see 1980s TV recordings uploaded to YouTube, they look rotten as well. Savvy? I’M TIRED OF HAVING TO EXPLAIN THIS SHIT TO YOU PEOPLE.

Missing the point is something that happens quite a lot in fandom. It’s appropriate that we’ve just had Mothering Sunday, because last year I published the meme you can see below, which was picked up by a fan page (as opposed to Peter Capaldi himself – a man who is not on social media, although it’s sorely tempting to pretend he is and is reading my stuff). Comments varied from ‘LOLOLOL’ (which doesn’t even make sense) to the acidic ‘That’s horrible, and so are you’ – but it was one particular remark that caught my eye and then twisted a sharp stick into the socket over the course of the head-against-the-brick-wall conversation that followed. It is reprinted below as is: I have no qualms about embarrassing the girl / boy, because that’s not a real photo and that’s almost definitely not her / his real name.

I despair.

Then along comes John, who gets it instantly. “We found the Americanized Who!” he said.

“Yeah,” I replied. “That’s what I should have called it.” Dammit.

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The New Who Top Ten: #10

9-early

It seems funny to think that it’s been ten years since I was a young upstart working in academic publishing, making the most of the office broadband connection in order to read BBC articles about the upcoming revival of Doctor Who. It was early spring 2005, and everyone was fairly excited. We’d seen trailers showing animated shop dummies, ghosts and a spaceship crashing into Big Ben (well, the clock tower that contains it, although I’m sure they hit the bell on their way down). Farting aliens, irritating love stories and the arm-folding shouts of ‘Fantastic’ that would define at least the first series of Russell T. Davies’ reign were still a world away, and in the meantime the imminent ‘series one’ was little more than an intoxicating world of wonders waiting to be discovered.

A decade later, with four more children than I had the first time Eccleston put on the leather jacket, I’ll admit that I’m very jaded about this revived Doctor Who. Those of you who read this regularly will know that I spend a lot of time whinging about story arcs, companion-centric universes and ontological inanity – to the extent that the list that begins today will feature, you will note, absolutely nothing from the last series. It’s nothing personal. I’m a big fan of this new Doctor. Capaldi’s fiery and glacial and wonderful, embodying Hartnell and Pertwee and even bits of Colin Baker. He just doesn’t have the stories he deserves, although I live in hope that this will change.

But enough of that for now. It would be nice to spend a couple of weeks accentuating the positive. Over at Metro, where I write occasionally, the very talented Cameron McEwan is doing a top ten countdown of New Who episodes, one story a day – so it makes perfect sense to do our own here, in parallel. Well, sort of parallel. He’s writing “episodes you have to see”, which is a little different to the somewhat more subjective “best episodes”. But it may be interesting to see how our lists compare, so I will link to Cameron’s posts as we go (not that he needs the traffic). And we start with…

Vesuvius_Erupts

Number 10: ‘Fires of Pompeii’ (2008)

Let’s get one thing straight: I bloody love Donna Noble. If New Who were a recruitment consultancy staffed by giggly hormonal teenage girls (and many recruitment consultancies are), she would be the branch manager, older and wiser and more grounded. She crash-lands in the TARDIS as the most irritating sidekick since Mel – with hair to match – and then is completely transformed. She is that rare breed: a New Who companion who undergoes a character arc that doesn’t leave me fired up with loathing and irritation.

Oh, for sure it all goes to pot in those final episodes. The Doctor-Donna thing is mind-numbingly tedious, and the Dalek-crushing, super-intelligent Donna in ‘Journey’s End’ is borderline offensive (what, she couldn’t save the universe on her own; she needed the Doctor’s brains?). But her transformation prior to that convergence is wonderful, and most refreshingly of all it’s done with comparative restraint, at least for this period in the show’s history: it’s nice to have a companion in the TARDIS who genuinely doesn’t want to shag the Doctor, and while the “No, we’re not a couple” gags quickly become tiresome, just for a change, the lady doth not protest too much.

"WOTAN!"

“WOTAN!”

‘Pompeii’ is early Donna. It’s her baptism of fire, in an almost literal sense. She is a willing traveller and the Doctor the most reluctant of hosts (the look on Tennant’s face at the end of ‘Partners in Crime’ as Tate loads her suitcases into the TARDIS is absolutely priceless). She reacts to the site of ancient Rome (or what she and the Doctor believe to be Rome) by addressing one of the street vendors in Latin, just to see what will happen. She takes the sight of fiery volcanic monsters in her stride, crying “You fought her off with a water pistol; I bloody love you!”. And she implores the Doctor to intervene in a raging, tear-stained exchange as Pompeii burns – although her high point arguably comes a few scenes earlier, when she clasps a hand over the Doctor’s inside the escape pod, as the two of them silently make history together. (It’s a scene Moffat would visit – however unconsciously – years later, at a pivotal moment in ‘Day of the Doctor’.)

But good as she is, Tate isn’t even the best thing about this episode. That honour goes to Phil Davis, in a performance described as “scowling” by Digital Spy: Lucius is a wrathful soothsayer who starts out intense and builds to fire and brimstone of Biblical proportions. It’s possibly the most angry performance in New Who and Davis hams it up like the villains of old. Not for him the balanced, morally ambiguous Machiavellian of ‘Timelash’ or the complex morality of ‘Genesis of the Daleks’. This is Omega territory. We could be back in 1973. In a way, we very nearly are. The entire episode has an almost overblown feel to it, as if James Moran wanted to write a contemporary story in the style of the Doctor Who he knew years ago.

4x02-The-Fires-of-Pompeii-doctor-who-1899528-960-528

‘Fires of Pompeii’ is infamous, of course, for featuring an early appearance from a red-swathed Karen Gillan as well as a supporting role from a future Doctor. It gave Moffat the excuse for yet another over-arching mystery in a tedious scene in ‘Deep Breath’ (one to which I’m sure we’ll return at some point) but the episode really deserves a stronger legacy than this. ‘Fires of Pompeii’ is gratuitously ham-fisted, and is as invested in silliness as it is in the moral debate that forms the narrative thrust of the third act. But there’s a satisfying consistency that runs right through to the ending, and the Doctor’s decision to save Caecilius and his family – however inconsequential in the grand scheme of things – feels as much in character as does his initial decision to abandon them. When Tennant opens the door of his TARDIS, bathed in light, peeking through the fourth wall and beckoning both the helpless Romans and the entire audience to “come with me”, you can’t help but cheer. And that’s my general reaction to the entire episode. It’s crowd-pleasing, but sometimes that’s not a bad thing. Even with Doctor Who.

dw08comewithmeyp3

 

Cameron’s Episode: ‘Turn Left’

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The Wig Planet

It’s quite gratifying that when I do an image search for ‘Donna Noble Library’, this crops up in the first three lines of results.

IMG20120824_002

(You can read about why Thomas is doing that in this post from August 2012.)

I can’t even remember why we were talking about it, but it probably involved the fact that Emily was cutting my hair last night. “I mustn’t overdo it,” she said. “You’ll look like Donna did when she was attached to that node.”

Anyway –

And while we’re on that, this one seemed obvious.

Donna_Library2

In for a penny, in for a Pond, as the Seventh Doctor would probably have said.

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Hedgehogs and donkeys

It’s a Sonic Screwdriver.

Thomas and I are halfway through series 4 (“Hey! Who turned out the lights?”). In re-examining the warm chemistry of the Tennant / Tate pairing, I am reminded of the time we were camping and my second son appeared through a flap in the tent, like this:

Thomas_Tent

And boldly declaring “Donna Noble has left the library. Donna Noble has been saved.” Oh, I was so proud.

Anyway, the other week they tackled the Good Samaritan at school. He understood the story, but didn’t fully understand the significance of the Samaritan’s decision to stop and help the Jew, because the animosity between them hadn’t been explained. Parables are funny like that. The Prodigal Son, for example, is laced with all sorts of detail that escapes a modern audience. The son’s request for his half of the money was akin to wishing his father dead. Working with pigs would have been beneath contempt for any Jewish man. And when he’s on the way home his father runs along the road to meet him – and never mind the fact that he was filthy and smelled of bacon, running in public was something that no respectable landowner would ever be seen doing. All these details would have been familiar to Jesus’ audience and would have emphasised the point of the story, but over the years a lot of this has been lost.

So I explained to Thomas that the Samaritan’s decision to stop and help the injured Jew was rather like the Doctor and Amy stopping to help a battle-damaged Dalek. Which satisfied him, although my friends were less sure. One asked if the Doctor could turn water into wine, while my brother-in-law said “Was it more like a Dalek stopping to help?” Someone else concurred. “You expect the Doctor to help, but you wouldn’t expect a Dalek to.”

I had thought about doing it that way round. Still, it’s always been my understanding that the Samaritan / Jew disdain was stronger on the Jewish side. Which would mean in turn that the hatred the Daleks have for the Doctor is stronger than any he might have for them – and therefore it makes sense to have the Doctor rescue the Dalek. This does then put you in the unfortunate position of a Jew / Dalek paradigm, which is ironic (and somewhat inappropriate) given the Nazi imagery of ‘Genesis of the Daleks’.

Emily got the last word. “I think,” she said, “that it was less about the hatred between the two characters in the story and more about who the audience would identify with. In which case it would be better to have the Dalek help, as that would be the last thing we would expect. Daleks / Samaritans = horrible begins who never do anything nice => shocking story.”

Which reminds me of this.

My friend Rachel pointed out that “A Dalek would have trouble getting the Doctor onto a donkey”. Still, that didn’t stop someone else producing this lovely piece of artwork:

Dalek Samaritan

In any event, it seems like Doctor Who has an answer for everything. But I think we already knew that.

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Donna Noble says ‘Oi!’

Look. It was this or the ironing, OK? Seriously, it took me an hour. It came about because of a repeat viewing of ‘The Runaway Bride’, which Thomas wound up enjoying very much, although for me it merely served as a reminder of how bloody irritating Donna was in that first appearance. But amidst all the posturing and slapping and an accent that wouldn’t have been out of place on Eastenders (or perhaps that should have been ‘aaahhht of place’) there was one word that stuck out / aaaahhht, and it’s there in the title.

“I’m surprised and a little disappointed,” said Gareth, “that there weren’t more of them.” He’s got a point. I went through transcripts from every episode in that series (and ‘The End of Time’) and picked out every single occurrence, including a few that are borderline. The use of ‘Oi’ tails off mid-series when they’re making Donna very straight-laced, before building an entire scene around it in the meta-crisis sub-plot in the finale. Nonetheless, it’s the closest she got to a catchphrase, and by and large assistants aren’t around long enough to get catchphrases, and for that I suppose we should be grateful.

The bit at the very end, by the way, was put in exclusively for the benefit of my children, who found it hilarious, even if I don’t…

Categories: New Who, Videos | Tags: , , , , , , | 1 Comment

Standing corrected (part one)

“It’s funny, isn’t it? The things you make up. The rules. If that thing had said it came from beyond the universe, I’d believe it, but before the universe? Impossible. Doesn’t fit my rule. Still, that’s why I keep travelling. To be proved wrong.”

(The Doctor, ‘The Satan Pit’)

I am, by my nature, an opinionated sort. I probably wouldn’t have a blog if I wasn’t, at least not one like this. I’d stick to a tumblr account and fill it with memes and gifs. Instead I’ll write reams and reams of text about anything that suits – whether that’s in a dedicated post, or a comment thread on a newspaper website. Never use a single word, I’ve learned over the years, when a hundred will do.

But I have a confession to make: a lot of what I’ve learned over the years was garnered from YouTube hits, Wikipedia entries and a fair bit of bluffing. The fact of the matter is that when it comes to much online debate I’m often far more ignorant than I may come across, having relied instead on the ability to weave an argument rather than actually give it any substance. If you can be convincing enough in your tone, it’s relatively easy to persuade your audience. A little flash and sparkle goes a long way. In this, I’m reminded of Richard Gere singing ‘Razzle Dazzle’ near the end of Chicago, a song I now have stuck in my head and which I thus won’t quote here for fear of inflicting the earworm upon the rest of you.

But insofar as popular culture is concerned I can talk about Doctor Who with reasonable authority, at least up to a point. I can say whether a story was good TV or bad Who, or the reverse. I can deconstruct an episode and talk about what worked and what didn’t (although Gareth does it better). I can view it within the context of the series as a whole (although again, Gareth does it better). I even have a decent-ish knowledge of Classic Who (three strikes, you’re outta there). I can even look at an episode from the point of view of a small child, purely through having watched every episode of New Who at least once with Joshua. (As a result, I can now see the merits in ‘The End Of The World’ and am far more appreciative of ‘Love and Monsters’, even though the oral sex joke is still a colossal misfire.)

Where I fall down, as it happens, is my tendency to make predictions that turn out to be spectacularly and indelibly wrong. Over the next couple of days, I’m going to be talking about just a few of them.

This fits thematically but I have no idea whether or not it's any good. Gareth could tell you.

This fits thematically but I have no idea whether or not it’s any good. Gareth could tell you.

“Bringing Donna back is a disaster waiting to happen.”

“No good will come of this,” I remember saying. And you know, you can hardly blame me. Donna Noble was an irritating trollop the first time we saw her. I don’t care that she was ‘feisty’ where Rose was doe-eyed and soppy (largely because feistiness has been the single defining trait of every single companion the Doctor’s had since 2008, with the notable exception of Rory). She had a voice like a foghorn. I was a big Catherine Tate fan, but she essentially aged Lauren Cooper by fifteen years and stuck her in a wedding dress. I spent the whole of ‘The Runaway Bride’ waiting for the inevitable “Am I bovvered?”, and in a way it was almost disappointing they didn’t include it – rather like a famous pantomime dame who’s not allowed to deliver his TV catchphrase.

I should have figured that Unenlightened Donna (which makes her sound like the crap version of Rimmer from Red Dwarf’s ‘Back To Reality’) was thoroughly unsuitable material for an entire series, and that Davies would have to develop her. He did this by taking out the mouth – although the feistiness remains – and getting her to cry in front of an Ood. It’s an overwrought scene, but it solidifies her, if only because her response – to plead with the Doctor to make it stop – is so utterly real. Donna had a moment of clarity at the end of ‘The Runaway Bride’, in which she suggests that the Doctor needs a companion because “sometimes you need someone to stop you”. Davies takes this as his starting point and has her become the Doctor’s conscience in a series where the Time Lord Triumphant is waiting in the wings.

Oh come on, admit it. This scene was hilarious.

Oh come on, admit it. This scene was hilarious.

And oh, it was refreshing to have a companion who wasn’t constantly flirting with the Doctor! As is usual with these things they took the situation to the other extreme and ran a whole series of “We’re not together” gags that were typical examples of the lady who doth protest too much, but Davies (like his successor) is always one for his recurring gags, and you can’t have everything. Donna treated the Doctor like a mate, and he responded in kind, and the two worked wonderfully together as a result – indeed, the chemistry between Tennant and Tate was good enough to see them take to the stage the following year in Much Ado About Nothing.

In the end it all got very tedious and companion-centric, as we’re treated to yet another series finale where the Doctor’s closest ally becomes the most important thing in the universe (I don’t know, what was wrong with just travelling with him?). This is always a mistake, because it kills any sense of empathy we might have with the character – it gets very hard to like Donna once she starts spouting technobabble and teaching the Children of Time how to fly the TARDIS. Then the Doctor takes it all out of her head, in another death-that-wasn’t-really-a-death – it’s a cheap trick, but that final, wordless scene in the control room is stupendous (particularly when you then read that Davies originally intended for the Doctor’s brooding fit to be interrupted by Cybermen, which would have ruined the episode). Series four wasn’t always an easy ride (the Sontaran story is still rubbish), but Donna’s easily one of my favourite companions, and Tate played her to perfection. Much missed.

Torchwood’s gonna be great.”

I refer you to something I wrote on October 17th, 2005.

“It sounds like a cross between The Lone Gunmen and Spooks, with a dash of Queer as Folk. Whatever you think about Davies’ political agenda with Captain Jack, he was an interesting and compelling character whom I liked a lot. In terms of character arc he was there to provide a suitably gung-ho replacement for the previously violent tendencies of the Doctor – once Eccleston’s incarnation decides to stop being a war hero and goes back to pacificism (notably after ‘Dalek’), he became more like some of the previous, more peaceful regenerations. At the same time, he retains a vicious streak: while Jack isn’t violent for the sake of violence he is nonetheless far more comfortable handling a gun, and in that sense he almost seems to be a projection of the Doctor’s own buried sense of violence; a necessary character. For all that rambling, he was one of the most fun aspects of the last season, and I can’t help thinking he deserves his own show.

It could all go horribly wrong, of course, but just consider the alternatives – they could have decided to make a spin-off series entitled The Further Adventures of Mickey.”

Ah, Torchwood. It could have been so glorious. A lot of people don’t like Jack Harkness, but I confess I always found him watchable, whether he was flirting or shooting – often both at the same time. The prospect of a darker, more adult-themed show, able to discuss the issues that Doctor Who, with its family audience and prime time slot, couldn’t touch? With Barrowman at the centre? Bring it on.

What we got was episode after episode of inane plotting, unnecessary swearing and ephemeral fucking. Barrowman spent most of the first series standing on a rooftop looking broody. It’s like Davies had cutscenes from Devil May Cry 2 playing on a loop when he was approaching deadline. Episode two was centred around sex as a plotline (ha!) but it was embarrassing rather than appropriately carnal. And I don’t mind a bit of language, I really don’t, but not when it comes across like the work of ten year old schoolboys who have been left alone with a tape recorder, charged to produce a radio report but unable to resist the temptation to goad each other into muttering the occasional rude word.

Torchwood eventually got much better. I nearly gave up after that first series, but in the second they all stopped fighting amongst themselves, gelled as a team and had a lot more fun. James Marsters turned up. Oh, and it has one of the funniest series openers I’ve ever seen. A couple of years later there was Children of Earth, a five episode miniseries that stands amongst RTD’s finest work, at least for the BBC, and which upset a good number of people for killing off a much beloved character – a brave decision and the sort the show has never shied away from, taking its cue from the likes of 24. Then it all went to pot again with Miracle Day, which took the formula stateside, without much success (although it does have a mesmerising performance from Bill Pullman). The finale of this features Barrowman saving the world by depositing his bodily fluids inside a gigantic crack. The irony of this is not lost on me.

Spot the girl who didn't make it past episode one.

Spot the girl who didn’t make it past episode one.

So I was right, I suppose, if you count those middle two series, but I’ve always seen Torchwood as a missed opportunity. It’s not entirely down to the writing, which was uneven but occasionally brilliant, but the whole show never seemed entirely sure whether it should be appealing to the teenage market or the adults who watched Doctor Who with their kids. In the end, it never fully appealed to either, which is a shame because Barrowman is a great actor, and there were some wonderful moments amidst the dross, particularly once the show stopped taking itself too seriously – such as the time Jack and Ianto were searching an empty office block for their quarry. “Check the roof,” Ianto mutters. “You’re good with roofs.” More scenes like that, and we’d have had the makings of a classic.

(FWIW, I also think Martha and Mickey: Bounty Hunters definitely has wings.)

Tomorrow: we look at theories concerning one of the biggest conundrums the show’s thrown up since its revival, and how I couldn’t have been more wrong about the Eleventh Doctor…

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Four have fun on a Sunday

Walking the Ridgeway with Joshua.”So Daddy, why can’t the Doctor just go back in time and stop that Dalek from shooting him?”
“Because he can’t travel back over his own timeline. Just not done. Ever.”
“I see.”
“Besides, if he hadn’t been shot, he wouldn’t have had the near-regeneration that eventually created the second Doctor. Donna would then have died in the fire when the TARDIS fell into the core. And they wouldn’t have saved the Earth.”
“That’s right!”
“So that’s why – ”
“And then there would have just been a blank screen and a lot of  screaming and wailing as everyone in the whole universe got killed.”
“…Yes.”

 
 

“WOTAN!”

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The Gold Road

Something for Valentine’s Day…

I may be misremembering the classic series, but it strikes me that the new Doctors – particularly Tennant – are far more hands on than their predecessors. It helps that Tennant’s Doctor, despite his occasional cockiness, was a very human character. This was also the age of the Russell T. Davies soap approach, where every companion was embroiled in a story of unspoken love / unrequited love / love in denial. (I’m being a little unfair to the Doctor / Donna story, really, which – despite once more placing the companion at the centre of the universe, thereby negating our ability to relate to them – was one of the less irritating series arcs. The recurring “Oh no, we’re not a couple” gags were tiresome, but they were a darn sight better than Freema Agyeman’s incessant sulking.)

Actual moments of romance were (out of necessity) few and far between, and that’s as much a trait of the series in general as it is of the Doctor. I actually wonder if there’s a rule book somewhere in the dim and misty archives of the BBC (you know, the room where Terry Wogan did Auntie’s Bloomers) that dictates the Laws of Time:

  • The Doctor’s real name must never be announced. Never. We will at some point throw in ‘Theta Sigma’ as an old college nickname because some people will probably be stupid enough to think that’s who he really is.
  • If the Doctor kisses anyone, it doesn’t really count. (cf. ‘Journey’s End’, where the kiss is performed by a human Doctor clone, ‘, or ‘Family of Blood’, where he’s lost his memory.) The Doctor himself, on the other hand, may be kissed by someone else for awkward comic relief effect, as often as necessary.
  • The Doctor must never, ever be played by an actor who looks better with / is synonymous with having a beard. (And no, ‘The Leisure Hive’ doesn’t count.)

Anyway. Leaving aside the romantic slush, have you noticed the bear hugs? There are a lot. I mean an awful lot. There are comedy hugs, unnecessary hugs, farewell hugs laced with dramatic irony, bittersweet hugs, hugs that you really want to see develop into something else and hugs that you frankly didn’t want to see at all (Jack? I’m looking at you. Now sit down and put it away). Doctor Who has become very dark over the years, but there are moments of light and fluffiness, and when you put them all together it’s a bit like chomping through an economy size bag of Haribo: over in a flash, because they’re so compulsively moreish, but you feel sick afterwards.

About twelve years ago I was doing hospital radio. Our status as a registered charity meant we could play more or less what we wanted, within certain ethical parameters, and one of my favourite records to play on a Saturday was ‘Thank You For Being A Friend’ (notably used as the theme from ‘The Golden Girls’), which at the time I absolutely adored. It took a few years of detachment for me to realise that it’s a dreadful, dreadful song – it’s almost inconceivable that the man who could have penned ‘Lonely Boy’ could have come up with something so dire. (I actually blogged about this quite extensively some years back, so there’s no point going into my particular hang-ups again.) But when I was twenty and naïve, it was the best song in the world. At some point I went off it, and the CD then spent the best part of a decade on its shelf, sandwiched between Genesis and Goldfrapp, a safe distance away from anything that could turn those little bits of data into recognisable sound.

Then, when Andrew Gold died last year (somewhat prematurely, at the tender age of 59) I listened to it again, and realised it held a certain kitsch value. It’s nicely produced and competently performed; it’s just the sentiment I can’t stand. At the time I was in the middle of another Who video – that’ll come next week – but I suddenly had the idea of combining two different types of cheese. Because it strikes me that the Barney-like hugging of the family-friendly Whoniverse that Tennant’s Doctor inhabits – encompassing a whole network of allies and spinoff shows – was perfect for a montage. As a result this was extremely easy to put together, at least in terms of finding suitable clips, because it was just a question of forwarding through to the end of each episode, which is when the mushy stuff invariably happens.

Andrew Gold’s back catalogue is owned by the UMG, and their somewhat draconian stance on copyright meant that I originally couldn’t post this on YouTube, because it was blocked worldwide. I have thus placed it on Viddler instead, as recently as this evening when I uploaded a new version that got rid of a couple of old glitches that annoyed me. Looking at it again, I’m conscious that it didn’t actually start out as a love story – that was never my intention – but in some respects that’s basically what it became. A bit like my life, really. Happy Hallmark Day.

Edit, 3 Feb 2013: the UMG copyright stance appears to have shifted somewhat – I had a go at uploading this yesterday, purely on a whim, and it got through! The link has been updated as a result.

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