True Fire by Gary Meehan. Teenage pregnancy in rural fantasy setting turns rapidly into a kind of Meg Rossoff's How I Live Now with crossbows and swords and a political-religious movement which makes Boko Haram, ISIS, the Lord's Resistance Army and their likes seem positively cuddly. With an eye to film adaptations, there's a strong supporting role for a fortysomething woman good at archery and being drunk.

The Sea-Stone Sword by Joel Cornah. I've not really started this one yet, but every time I open it I see a fannish reference to some other text. From a smaller publisher and definitely aimed at transmedia-literate genre fans, but with its own narrative concerns too.

Doctor Who Magazine 475; not a book but more words than many of them; the first part of a more-detailed-than-usual interview with Terrance Dicks and the second part of Andrew Cartmel's interviews with the writers he worked with as script editor in the McCoy period add more insight to two already well-explored periods of Doctor Who history. New to me were the suggestion that the insistence in the early 1970s on a 'family' television label and the research to show that most of Doctor Who's audiemce were adult was in part a rebuff to takeover attempts on Doctor Who by the renascent BBC Television children's department (imagine Jon Pertwee arriving at Television Centre to find that his producer is not Barry Letts but [yes, I know she didn't do drama really] Biddy Baxter...), Ben Aaronovitch's belief that in practical terms writing for Doctor Who set his career back twenty years, and The Greatest Show in the Galaxy emerging as a way for Andrew Cartmel to kill an idea John Nathan-Turner had commissioned from Stephen Wyatt while Cartmel was on holiday, for a three-part story to be made entirely in the Doctor Who Exhibition at Longleat House. Oh, and much Vastra, Jenny and Strax, too, with an interview with their real-life alter-egos and a comic strip starring them, with no sign of the Doctor.

Thomas Jefferson: Life, Liberty and the Pursuit of Happiness by Maira Kalman. Jefferson is one of those annoying historical figures who can seem so modern and contemporary and yet their careers, their personalities, privileges and weaknesses show that they are their own. Kalman's illustrated children's book on Abraham Lincoln was fascinating and this imagines a Jefferson who said kind words to his (enslaved black) cooks and seemed to live more hours than exist in the day while enjoying both a full political life as well as pursuing his cultural interests, as well as amorous ones: Sally Hemings appears and the opportunity is taken to explain what "pass for white" meant and why it was important in a "PREJUDICED LAND" (Kalman's capitals). My teeth are set on edge by the mention of "the tyrannical rule of an English king" (far too hard on conscientious George III) Above all, Kalman's pictures and text restore a humanity which this observer finds America can strip from its icons: Jefferson and Lafayette are painted plucking figs from the trees at Monticello, and in noting that Jefferson's self-penned epitaph on his gravestone does not mention that he was President of the United States, she asks (of her young readers) "I wonder why", before on the next spread urging her readers to follow "Life, Liberty and the Pursuit of Everything", though Jefferson himself might have mused whether such a quest was reasonable or possible for everyone without the benefit of a tobacco plantation.
For reasons clear to anyone who studies his Twitter feed and interactions, veteran Doctor Who fan Ian Levine is keen to make it known that this short series of articles published in DWB in 1992 is available to read online. It's been supplemented and superseded by other work, such as Richard Molesworth's DWM articles and the two editions of his book Wiped published by Telos, and by the ongoing work by the BroaDWcast site, but it's still readable and tells Levine's side of the story as well as convey how horrified first-generation Doctor Who fandom was when they learned that episodes which they often remembered from childhood and which they imagined survived at some BBC vault no longer existed, with anecdotes of early fandom and the dawn of home video.
Between sessions of evidence-gathering for the conference paper I'm delivering later in the week, I've been catching up on the Doctor Who DVD backlog with small doses of Dragonfire. I voted this top in the season polls in 1987, and can still see why, as there is a better-defined sense of threat in this story than in its three season 24 siblings, and a credible villain in Edward Peel's Kane. Realisation is still very erratic, though; I'd not appreciated how far the characters are dependent upon sharing the knowledge of the author and viewer about where the others are until reading Paul´╗┐ Scoones's production notes, for example. The making of... documentary at least gives the director freedom to admit that he didn't really pay attention to the logic of the story, hence the nonsensical visuals including the Doctor's pointless climb over a rail so he can dangle over a sheer drop at the end of part one, there being no sign of the ledge he was apparently trying to reach... There is a lot of inconsistency in the line delivery, too, especially from Sylvester McCoy who sometimes seems to need to work too hard on his Doctor. Sophie Aldred is great when having to confront Kane or his followers but at other times she seems to be under instruction to ham things up more - the dreaded children's programme sensibility mentioned by writer Ian Briggs and Chris Clough in the documentary, which was antipathetic to the spirit of Doctor Who but seen as a necessary part of the placation of hostile head of drama Jonathan Powell. A word of praise though for the everyman mercenaries McLuhan and Bazin, played by Stephanie Fayerman and Stuart Organ; their naturalistic playing of the 'ANT hunt' in part three is welcome amidst the histrionics elsewhere. Their deaths acquire power consequential upon their dogged determination to get their job done, despite having no particular pride or interest in the task in hand.
For Brasenose, Robert Hewison and Michael Palin produced John Mortimer's radio play Call Me a Liar. A slight school-of-Billy-Liar piece, Philip Hodgson played the anti-hero Sammy Noles amusingly, a compulsive a defensive liar who is finally redeemed by the love of Martha Heinz. Good attention to detail, marred only by a recalcitrant moustache. Ingeniously staged with a three part revolving set.

Of Teddy Hall's production of the third act of Dannie Abse's Fire in Heaven, I hardly know what to say. I suppose the piece was as well-performed as the last death-rattle of a worn out verse convention allows.

---David Wright, Theatre, Isis 20 November 1963.

I cited Teddy Hall as there's a strong possibility Ian Marter was in that production, but I need to research further.
sir_guinglain: (Zen)
( Jun. 6th, 2014 09:33 am)
I watched Weapon last night for the first time in years, and in company dominated by a generation who had little familiarity with Blake's 7. The question kept being asked: Why spend so long on set-up before reaching the action? I could only answer flippantly that people talking in rooms was something that BBC multicamera studio drama did well. June Hudson's costumes were as ever pleasingly literal in the way they solidify character traits: John Bennett's Coser looks absurdly pompous in his high collar, but in profile on a two-dimensional screen the collar becomes a shark's fin. The medieval accent is present too, with Servalan and Blake presiding over competing courts with their long-cloaked knights in their armour, black for Servalan, green, brown or red for the outlaws of the greenwood vacuum.
For those interested in oldish Doctor Who stuff, issue 26 of Oxford's Tides of Time fanzine, published in 2000, is now online as a pdf. More information here.
sir_guinglain: (Hartnell words)
( Apr. 20th, 2014 11:16 am)
Here I am, an agnostic and I suppose a functional atheist, humming 'Jesus Christ is risen today'... but here is a Doctor Who Easter Bunny, co-creator Cecil Edwin 'Bunny' Webber, profiled on BBC Two's (Happy Fiftieth Birthday, BBC Two!) website for An Adventure in Space and Time last year. ([twitter.com profile] danblythewriter's idea.)
Issue 37 of The Tides of Time, the Oxford (University) Doctor Who Society magazine, has now been uploaded to the internet. It was published in print form in November 2013 and marks the fiftieth anniversary of the programme. Contents include:


  • Crossword - Fifty Years of Villains
  • Return to Earth. Review of the Wii video game, by Adam Kendrick
  • The Eternity Clock. Review of the game for PC, PS3 and PSVita, by Graham Cooper
  • Rusling the Isis. The second part of a look at Russell T Davies's Oxford University media career in the 1980s, by Matthew Kilburn
  • Fifty Years, Fifty Moments. The scenes which encapsulate Doctor Who's Doctor Who-ness, compiled and written by Graham Cooper and Sara James, with Thomas Keyton, Matthew Kilburn, and Jonathan Martindale
  • Doctor Who and Philosophy. Jonathan Martindale reviews the 55th volume in the Open Court Press series 'Pop Culture and Philosophy', which turns its attention to Doctor Who.
  • Lost in Translation? Sara James reports on the status of Doctor Who in Germany with particular regard to pronouns!


The magazine itself can be downloaded from this link in pdf form.
I've not seen this play, but would like to. Directed by Douglas Camfield, starring Katy Manning as a lesbian threat to middle-class domesticity, produced by Joan Kemp-Welch (wife of Peter Moffatt), almost directed by Darrol Blake, and featuring Neville Barber probably looking more in his depth than in K-9 and Company (though looking out of place in a conventional sort of way was his stock in trade) it's tempting to view it as a sort of Doctor Who awayday, for lots of people who didn't actually work together on Doctor Who, though of course it isn't that at all. More at the Spaces of Television project blog.
Too often I post about the merely routine, and this post is much the same; but it is a great thing that one can read scans of rare historical source texts on one's phone. I'm not sure if it is great in the sense of really very useful, or great as a gimmick, or great as a symbol of the sharing of old knowledge on a table constructed with the new; or just great in the grand/cool sense; but it's great nonetheless.
In the same magazine as the article which I shared back in August - I'd managed not to notice it... More information here.
While I'm about it, for those curious to see what I thought of Steven Moffat's first Doctor Who Christmas special, my review from not long after broadcast is still online at This Way Up.
We are not always the people we think we are. The man who thinks he longs for the suburbs and regularity and structure instead longs for danger. The high-functioning sociopath is a man who has friends, loves them and can cope with that.
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I'm about to fly south (on wheels) for the rest of the winter, but first, some links:

Where will we live?
James Meek surveys the background to the current British housing crisis and looks at the competing interests making a bad situation worse today, in the London Review of Books

2015: An Ugly Stramash
The post-independence vote scenarios which Westminster isn't thinking much about, but Scotland is. With thanks to [livejournal.com profile] nwhyte

Doctor Who at the Lord Mayor's Show, 1981
A brief clip from the BBC coverage of the Lord Mayor (of London)'s Show, voiced by Eric Robson, is followed by some of Kevin Davies's own recording of Peter Davison's first public appearance in costume as the Doctor, accompanied by what we'd now call cosplaying fans, but didn't then.
The official 2012 video, it seems (corrected from my earlier impression that it was this year's):

Before the day is out here in the UK, I should also mention that it is the fortieth anniversary of my watching The Time Warrior part one, or at least part of it, on first broadcast, and thus forty years of Doctor Who-watching (though it's not until season 12 that I'm sure I watched something of every episode).

It's also forty years since Sarah Jane Smith made her first appearance in the programme. Would that Elisabeth Sladen was around for us to toast her performances.
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