Laxton: England’s last medieval village

English: Laxton pinfold.

English: Laxton pinfold. (Photo credit: Wikipedia)

This past weekend we visited Laxton in Nottinghamshire. Where, I hear you say? It’s a unique village in England because it’s the last remaining survival of the medieval strip-farming system.

Historians among you will be familiar with the term “enclosure.” Though little known, and rarely if ever televised, this was a seismic shift in the way ordinary people lived and produced their food. Around the end of the eighteenth century, landowners began to remove the long-established right of peasant farmers to cultivate the small strips of land they had been allocated. Before this time, the landscape consisted of vast open fields without fencing. To stop animals wandering and allow food production to work effectively depended on the complex system of co-operation between every member of a community. There was general agreement about the system of rotation for planting crops, the location of field boundaries, and what was to be done with untethered animals.

If you’ve ever known someone with the surname Penfold, the chances are that their ancestors were involved in policing this very important matter. The Pin Fold was the place in the village where stray animals were confined when they were found wandering, and to get them out you had to pay a significant fine. This, plus the real threat of hunger, kept the system of growing food in unfenced fields viable.

Our mental picture of the past often omits the things that would have seemed most ordinary to people at the time, and most alien to our modern eyes. Imagine a landscape filled with people toiling away on their own little bits of these enormous fields. Imagine a village street where every house is a farm, with its own yard, barns and other outbuildings. A place where you worked alongside your neighbours, endured famine and enjoyed the occasional feast with them. All this changed radically when landowners began to consolidate their holdings, evict their tenant farmers and changed to grazing or food production on a more industrial scale. Far fewer people would have been needed to run such a system, so it apparently made economic sense, but the shock of its implementation for a rural population who could imagine no other way of life must have been devastating.

It’s interesting that, while the genesis of the Industrial Revolution is familiar to most of us, enclosure is so little discussed. It seems rather a boring topic. I think that is because we simply cannot visualise what such communities would have been like. This is what makes the village of Laxton, where it has survived more or less intact, so remarkable. It’s like one of those heritage parks, only it’s real. There still are working farms in the village, and there is a yearly meeting to administer the system.

Here are a few pictures we took. First, a map that shows how the system works. Back in the 15th Century, and earlier, the strips would have been smaller and more numerous:

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Here’s a view of the landscape from about a mile away. You can see how different it looks, and the pattern of strips made by different crops growing side by side:

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And here is a closer view. In the field on the left, you can see wheat that was planted the previous autumn, while on the right there is spring-planted barley. All the farmers in the scheme follow the same three-year rotation, with a third of the land lying fallow at any given time. The parts of the fields that are too waterlogged to farm efficiently are called “sykes.” Not only do they make delightful, if rather muddy, walking paths; they are also a source of excellent hay. One of them contains an ingenious system of artificial fishponds, now sadly disused. There’s nothing modern about farming fish. Indeed, it was a very important part of the medieval diet since for about a third of the days of the year, the consumption of meat was forbidden for religious reasons.

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Finally, here’s a picture of one of the modern farms. As you can see, it’s all on a very human scale, a true farmstead. And all this opening right off the street! Some of the farms have now been converted into private homes and/or used for bed and breakfast. But around two thirds still operate as small farms. I was surprised to find that one of them supplies wheat to Warburtons, one of Britains largest industrial bakers.

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So, is this the way we should all be farming? Well, it isn’t mechanisation friendly (that is why the size of the strips were increased and their number reduced in the early 20th century). It’s’ a system that would only work universally if the majority of us were content to be subsistence farmers. I don’t know if Laxton would be thought of as a bucolic paradise by the people who have to live there. But it was filled with the sound of birdsong and it came over as a very peaceful and wildlife-friendly place, filled with glorious gardens and most people apparently keeping chickens and growing a good bit of their own stuff, whether or not they were active farmers. What it does show is how very different the past was, in ways we often don’t appreciate. It’s important not to romanticise what was no doubt a hard and sometimes hungry life for the majority of people. And to describe it as being in harmony with nature or the landscape is a bit of an over-simplification. Our countryside, whether made up of colourful strips or big fields, is shaped for good or ill by the way we as a nation use our land.

What is remarkable about Laxton is that it shows there was, and occasionally still is, another way of doing things. We could usefully adapt some of the values on show there – localised, small-scale fresh food production that maintains biodiversity, to live a more sustainable lifestyle.  Food for thought, indeed.

If you want to know more about how the strip-farm system works in Laxton, there is a detailed explanation on their website here.

And for a recent, powerful novel about how enclosure would have felt to those who experienced it, I can recommend Harvest by Jim Crace.

 

The Name of the Doctor – it’s all about him

This post contains spoilers. You’ve been warned.

Doctor Who: The Name of the Doctor

Well. That was a ride and a half. And it was Moffatt at his very best. I got the feeling that he’s been wanting to write that finale ever since he got the DW job, and he’s found it really difficult to care all that much about anything that didn’t feed into it. Hence the uneven quality of the last series.

It was ambitious, it was scary, it had some great one-liners. Fan service galore, and a lovely intellectual conundrum at its heart – what time traveller hasn’t had to deal with the temptation to find out about his own death? The production values and direction were top-notch. It was, genuinely, the best finale since POTW, possibly even better. I have to hand it to Moffatt, that was one heck of a piece of TV.

And yet….

I’ve been trying to put my finger on what bothered me, what didn’t feel quite right. At first I thought it was the impossibility of Clara, of trying to stitch her into canon. I kept thinking of things like, why wasn’t she there in Waters of Mars? How could she bear to see the state he was in after Doomsday and offer him no comfort? (Ditto the Time War, of course, but more of that anon).

So, saving the Doctor. Well, that’s a nice way to spend your eternal life. Certainly makes the universe a safer place. What does saving the Doctor actually mean? Is it just something you do, or does it come from a real relationship, a place of love? Are you doing it for the world, the universe, yourself, the Doctor, or just because you are a piece in a puzzle that has to be slotted in for everything to work properly?

If it’s about a relationship, actually being there for him and making him a better person, then to single out Clara’s specialness seems like a kind of insult to all the other people, from Susan, through Jo, Sarah Jane, Tegan, Rose, Donna…who did exactly that. If it’s a force, something like Bad Wolf (and I think maybe this is the way Moffatt would have written that concept), then it’s rally hard to start putting it into the story at this stage when it’s never been there before.

All the time she’s been there, never intruding, just quietly in the background making sure the Doctor gets out of things okay. Not demanding anything in the way of emotional growth or character development, so he doesn’t go on making the same mistakes. Just there, not making any demands, even though to carry out this role she has to die over and over, in an unimaginable number of different ways.

Just a piece in the puzzle
Just a piece in the puzzle

We saw that happening to the Doctor, just the first few deaths, and it wasn’t pretty. There he was rolling around on the floor, in agony, and everybody was worried about him. But if we follow the storyline through to its logical conclusion, that’s nothing to what Clara will have to endure. Dying and being reborn, over and over, and over, and nobody even notices.

I hope somebody writes the fic where Clara meets Jack. I think they’d have a lot in common, and they’d probably have some hot sex as well.

So she’s the impossible girl, a kind of Metacrisis Donna on steroids, but no ancient Romans are making monuments to her, nobody is singing songs about her. OTOH, she seems to get to keep her memories, which isn’t necessarily desirable, considering some of the places she must have got to see.

Come to think of it, she could have an interesting talk with Martha Jones sometime.

Anyway, so much for the Impossible Ultimate Companion Clara, who seems to be better at symbolising the Companion role than actually embodying it. Moffatt is big on that.

Doctor Who - Series 7B

Elegant martydom – discretion becomes you, Professor Song

And then there’s River Song. Again, what a model of discretion she is, as she meekly begs the Doctor for some kind of acknowledgement of all she has been to him (or so we, and she, like to think). Again, functioning best when she isn’t even noticed, just whispering in the ear of the Doctor’s latest hottie, the two of them collaborating rather like the two wives of the ghastly man in Khaled Hosseini’s A Thousand Splendid Suns. You know what? I think I’d have liked River’s ghost to slap him across the face, push him into his timeline and say he got what was coming to him.  But of course she wouldn’t, because for all the badass and designer shoes, River knows that when push comes to shove a woman should stay in the background, never intrude on the Big Damn Hero’s hangups, take what she can get and save the world in some act of cosmic sacrifice.

That kind of thing has been going on in religions since time immemorial.

I cant imagine Jackie Tyler doing it, though. But she was a real person, not an icon.

It was a day or two before all this started to percolate through, and this brilliant piece of meta definitely helped  (thanks to green_maia on LJ for that link). In SM’s Doctor Who, it’s all about the Doctor. We look after him, and if we’re lucky, he’ll look after us.

Everybody is obsessed with the Doctor, and he’s obsessed with himself. Nobody else really gets a look in. Yes, he cried in this episode (bring it, Matt!) Contemplating his own death. Not Clara’s sacrifice, or River’s hollow martyrdom, or yet more of his friends lying dead and broken on the floor, but he cried because he had to go to Trenzalore. Which admittedly wasn’t a very nice place. But still.

It was an intimate kind of a finale, and I kind of liked that. But that meant that it didn’t focus on any Big Bad – frankly Richard E Grant was a sideshow compared to the Doctor’s demons. And now, like anyone who gets in too deep with an abusive, controlling man, Clara is lost inside his head, trying to figure out how to change him, and she’s seen something that he really, really, didn’t want her to see.

Okay, I’m only human, and the John Hurt character fascinates me. He fascinates me a lot more than Eleven (or is it Twelve now?) because etched on that face is unbearable suffering and the evidence that it’s actually affected him. Yes, he’s the shadow, the Bad Doctor, the Valeyard perhaps, the elephant in the room…but he’s real. Eleven is never real like that; he comes over as a narcissistic creep.

I really will have a problem seeing Matt as Good Doctor to this character’s Bad Doctor. The edges are pretty blurred these days. I’ll go on watching, but it’s John Hurt I’ll be watching it for.

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…because every modern hero needs a shadow self.

The Accident And Emergency Debate

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The College of Emergency Medicine has recommended that 30% of the patients turning up to dangerously overstretched Accident and Emergency units nationwide don’t really need to be there – they should be assessed by a GP.

This week, we’ve had an excellent example of this dysfunctional system in action.

On Sunday, which happened to be two days before his Finals, our student son woke up with a pounding headache and a big swelling on his face. He rang the helpline, and was sent to A&E, where he waited for nearly six hours, feeling terrible and, officially at least, out of phone contact.

The first we heard that something was awry was when our daughter phoned us, telling us she’d read on Facebook that Tom was in the A&E department. Unable to get any clear details, and aware of the proximity of his Finals, I decided to drive over 200 miles and see for myself.

Just north of Birmingham,  my phone beeped. It was Tom. He’d been put on antibiotics for “a blocked salivary gland.” He had a terrible headache, he just wanted to go to bed and be left alone, and I needn’t bother coming, he said. Since the hotel room was booked and non-refundable, I carried on.

Next morning he felt a lot worse. He went to the University Medical Centre, worried that he might need some paperwork in case he underperformed in his exams. They diagnosed mumps and put him in isolation.

It’s unlikely that anything could have saved his Finals at this stage. But what worries me is that he waited hours in a crowded hospital, full of vulnerable people, and then was misdiagnosed. Apparently it never occurred to anyone, regardless of the fact that a mumps outbreak was raging on the local university campus, and he presented with textbook symptoms, that this could be his problem.

A GP in the A&E department could have made all the difference. They might have picked up, for example, that although our son’s been fully vaccinated, he’s also been on an immunosuppressant for months to control his eczema and allergy problems. Instead, he’s ended up with an unnecessary course of antibiotics, lost a precious 24 hours which could have been spent alterting the University to the fact that he’d need invigilation to take his Finals papers in isolation, and inadvertently put numerous people at risk of contagion.

It is all so preventable. We just need the facilities for people who inconveniently get sick out of office hours to see a GP. Health care professionals have been saying this for months, so isn’t it time someone listened to them?

The Name of The Doctor? Don’t know, don’t really care

I am remarkably unmoved by the whole thought of the latest DW series finale, and whether or not I get spoiled. I realise it matters terribly to other people so I will be very discreet (not that I know much anyway). But a poll on LJ made me reflect that if I had to number New-Who finales in order of preference, it’s all been steadily downhill from The Parting of the Ways, really. Or possibly Doomsday, which I have trouble viewing objectively since the mere thought of it breaks my little shippy heart.

Seriously, TPOTW still impresses me as a beautifully constructed piece of drama, in which every significant character has something important to do. By the time we got to the one with The Master things were very patchy, and I wish I could erase Tinkerbell Jesus Doctor from my mind, and JE I hated so much I could barely function for a week afterwards. I’m not even going to mention the over-indulgent, incoherent train wreck that was The End of Time. Even Cribbins and Tennant rising to the occasion in some of RTD’s best-written scenes ever couldn’t redeem that one.

As for the Moffatt finales, with the Pandorica one I really appreciated the lack of angst (it says a lot about Doctor Who that the rebooting of the whole of creation seemed a mere sideshow), and the other one was plain barking mad and silly. I confess to being curious about what they’ll pull out of their backside for this latest one, but since the currency of peril in the show is so debased now that the fate of the universe merely generates more than a passing shrug, that only leaves Saving the Doctor by Some Feat of Epic Sacrifice – and that only affects me if I care two hoots about the character (most likely female) who will end up doing it. I don’t even like the Doctor any more. Of course, that may be the point. He may turn out to be Not the Real Doctor, or a Mad Doctor, or Some Doctor That Really Never Existed, but either way, I dislike him intensely at the moment.

I disliked Ten quite a lot of the time, but you could always trace back the narrative arc that had screwed him up, whereas Eleven’s unpleasantness (increasingly manifesting itself as sexism/flirtatiousness) just comes out of left field. Right now I think Sarah Jane would do a better job of saving the universe than he would, and with a lot more moral authority. And if they ever brought Romana back, I’d be in heaven.

What about the nice Victorian lesbian couple? Well, I think ed_rex called it on that one. We all like the idea of them, because we want to be liberal, but even cross-species gay Victorian relationships aren’t actually all that interesting unless the characters are. And these aren’t, not really.

Sadly, DW seems to be turning into a bit of a black hole that sucks up our best and brightest writers. Right now Gaiman is suffering something of a backlash because his Cyberman episode wasn’t as mind-blowingly fantastic as The Doctor’s Wife. But I think we have to remember that most of these episodes are so screwed over, truncated and rewritten by the time we see them that they are barely recognisable. Would Neil Gaiman really have described a female companion as “an enigma in a skirt that’s just a little too short?” As he’s pointed out, DW doesn’t pay well (you don’t even get paid for rewrites to your own episode, in fact, if The Writer’s Tale is anything to go by, you’re lucky if you get to do your own rewrites) and if we bitch too much about celebrity guest writers they might well clear off and do something more rewarding.

As for the notorious early US DVD release – well, if I was really, deeply cynical I would point out that it’s been the most fantastic publicity for the BBC. And that, dare I say it, spoiler-phobia is totally out of control in DW fandom. There, I’ve said it. Unpopular opinion #1. I admit, it’s annoying if you get spoiled for a big episode. But that’s what it is – annoying. Not tragic, not the end of the world as we know it, not even devastating to be honest. To remain spoiler-free will do nothing to end world hunger or stop the Taliban blowing things up. Let’s have some sense of proportion about these things. Personally, I find it patronising and offensive to be offered a free video tidbit if I don’t blab. I’m not in the Upper IV at Malory Towers.

You know what really is heartbreaking, Mr Moffatt? Not DW spoilers. It’s heartbreaking when your son gets mumps the weak of his Finals, and they can’t invigilate him, so he can’t graduate, and he might not be able to do his MA. That’s what we’re dealing with right now, and it kind of puts everything into perspective.

But having said that, I wouldn’t spoil you, even if I could. Enjoy the show.

Dark Deeds in the City of Light

Paris Winter finalThough popularly known as the City of Light, Paris can be a pretty dark place if you are alone and short of money. Maud Heighton finds herself in this predicament in Imogen Robertson’s new novel, “The Paris Winter.”

It’s 1909 and Maud has managed to escape an unhappy home life to study art in Paris. But, although she has pared her expenses to the bone, she is struggling financially and dreads the hunger and hardship of the coming winter. So when she is offered a cushy job as the companion to an opium-addicted young woman and her rich brother, she is unable to resist. However, all is not as it seems, and her apparent good fortune leads her into a darker world of betrayal, crime and revenge. In the process, she finds a hidden steel in her outwardly meek respectability, and makes some surprising friendships.

This book, her fifth historical fiction title, marks something of a departure for Imogen Robertson. Her Crowther and Westerman detective stories, set in the late 18th century, have won her quite a following. Certainly crime plays a major part in this new one, but more from the victim’s perspective. The identity of the perpetrator is never in any doubt, and the honey trap is set up so well that the reader, like Maud herself, is lulled into a false sense of security and it comes as a real shock. We can completely sympathise with the victim’s sense of betrayal and determination to get even, though at times we may fear for her state of mind.

The Belle Epoque was so stuffed with famous characters that the temptation to name drop must be strong. Gertrude Stein, Picasso and Susan Valadon all get a mention, the latter as more than just a cameo role. But the most interesting characters are imaginary, including a Russian princess trapped in privilege and protocol, a tough-cookie, art-collection American countess, a streetwise artist’s model and a philanthropist running a rescue centre for respectable young women at risk of falling through society’s cracks. The last is based on a fascinating character, Ada Leigh, who deserves to be much better known. Stumbling on her short autobiography was a real stroke of luck for Robertson when she was researching the book – read about it on “The History Girls” here.

The Paris floods of 1910

The Paris floods of 1910

This period is so well covered in both fiction and non-fiction (not to mention the cinema) that one might think there are no new angles left on it. But the catastrophic floods of 1910 are a relatively unexplored episode of Parisian history, and Robertson works them into the tale’s climax to great effect. It’s never laboured, but there is a real sense of something dark always threatening to burst through the city’s glittering shell.

What I liked best about this book was that the narrative method is fully integrated into the character development. Maud is an artist, and she sees the world in terms of shape and perspective, tone and colour. It’s likely that the misery of her difficult childhood helped to shape her ability to observe the world around her. Throughout the book there are descriptions of the catalogue of an exhibition of anonymous paintings, through 2010, which the reader will recognise as a glimpse into Maud’s inner world and her reflections on the experiences she undergoes. The ending is deeply satisfying on every level. It’s a gripping read, with an intelligence and grit that sets it apart from many fluffier stories of the Belle Epoque.

 

The Future of Doctor Who (possible spoilers for S7 finale)

Predicting Doctor Who finales is a high-risk strategy. I remember sticking my neck out a long time ago and declaring that Lucy Saxon was Rose or Romana in disguise. But the promises that “The Name of the Doctor” will be a game-changer of epic proportions does invite such speculation.Image

Will Matt Smith be quitting? Who will the mysterious Clara turn out to be? Theories abound.

I don’t propose to get metatextual about this. Instead, my predictions are based on commercial realities. Doctor Who seems to be on the verge of making it big in America. Mainstream, not cult, big. That kind of thing attracts big money and all the associated strings that come attached.

In the ill-fated but spasmodically brilliant Torchwood series ‘Miracle Day‘ we’ve already had a test run for a DW- universe series with a production team spanning the Atlantic. Some things about it were terrible, but the production values and writing input definitely had potential. Julie Gardner and Jane Espanson spring to mind as two high-profile people who could conceivably be very interested in a Stateside relaunch of Doctor Who. I’d also be willing to bet a significant sum on John Barrowman being involved. Glee, love it or loathe it, has blasted a trail for gay-friendly primetime TV. It would explain many things, including his vagueness on his involvement in the Anniversary Special and the future of the show as a whole.

But if I was a network executive having that pitched to me, I’d have real concerns. Too quirky, too English, too much weight of backstory, poor production value history, format not ideal for the one-hour-minus-commercial-breaks slot, insufficient movie potential and stories that are way too complicated. Then there’s the problem of the target audience. Kids or adults? Fans or mainstream?

So are we talking reboot? Quite possibly yes. If you buy the 12-regenerations theory, the Doctor’s coming to the end of his natural life cycle anyway. He’s gone most places, done most things, and it’s hard to think of anywhere further to go with him. Except back to square one. In fact, it seems to me that the main evidence in favour of my theory is the increasingly tired, desperate and played-out character of the current over-hyped Series 7b.

My money is on that happening, somehow, on the Fields of Trenzalore. And in the fullness of time, there will be a relaunch, with a lot of American production talent on board. Quite possibly a US show-runner. In a perfect world, Neil Gaiman would be offered the job. We can dream.

It’s even conceivable, likely indeed, that the BBC input will be minimal. And there will be movie deals on the table, you can bet on that.

But what about the English fanbase? What about the Anniversary Special, and the fact that as recently as this week, a new Executive Producer has been appointed by the BBC? Will he be moving to LA?

I think the key to that dilemma lies in the carefully timed clip released this week from the S7 Finale:

“The path I carved through time and space, from Gallifrey to Trenzalore. My own personal time tunnel, leading back to every moment I ever lived. Every step, every tear, every kiss. Even the days I haven’t lived yet.”

In those words lies the answer. It’s the perfect set-up for the British market. Even by the standards of recent DW publicity, the public setpieces of the filming of the Anniversary Special have been extremely staged. It’s a promotion, a reassurance if you like. David Tennant does not have a good track record of success on American TV, but the British public still can’t get enough of him. Matt Smith doing a Boris-type hanging stunt in Trafalgar Square – how British can you get? Filming with Tennant, a Zygon and a Queen Elizabeth I lookalike in a castle. Not to mention the high-profile announcement of Tennant and Piper’s return.

The main action reboots and crosses the pond (parden the pun). The BBC continues to make occasional crowd-pleasing Specials for the domestic market. More committed fans, who are willing to put their money where their mouth is, could have access to further material online. Big Finish have been doing it with audio, on subscription, for years. Don’t tell me the BBC haven’t been looking at that model. Put it together with House of Cards on Netflix, and you have a winner.

The potential is huge. For a start, you could get Tennant back. Heck, you could even get Tennant and Billie Piper back – just nip down the Time Tunnel and turn first left. You could find ways, digitally or otherwise, to revisit other eras, too. CG animation is pretty close to the point where Baker or Hartnell could be recreated, and CGI monsters look a helluva lot better than people in lame plastic suits. Matt Smith could stick around if he feels so inclined. . The possibilities are endless, the purists are kept content and a lot of people in Cardiff get to keep their jobs.

It would be nice if decisions like this were made on the basis of artistic integrity, but in fact that is rarely the case. It usually boils down to money. The Doctor will survive, in some form. And often, whatever the hardcore fanbase claims, these things work out better than you think.

The Never-Ending Story – Why Doctor Who doesn’t satisfy

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Matt Smith and Jenna-Louise Coleman in Journey to the Centre of the TARDIS

What a frustrating show Doctor Who has become these days. Every week brings flashes of brilliance, but the overall effect is unsatisfying, more often than not. I think some of the problems, if not all, are structural. I’ve been reading a book by John Yorke, creator of Life On Mars and Shameless, among other hit shows – he’s now involved with the BBC Writers’ Academy and, interestingly, name-checks Stephen Moffatt, RTD and Julie Gardener in his acknowledgements.

After a first half devoted to the five act structure that is the DNA of most successful movies, Yorke turns his attention to TV writing and has some very interesting things to say. One of which is that there are fundamental differences between a TV serial and a TV series. In a series, the characters don’t change significantly between one episode and the next, but act according to a template. In its most common form, the detective drama, their function is to confront a crime, find the culprit, solve the mystery. In LoM, Sam doesn’t become all that much more intuitative, nor does Gene get more insightful, from one episode to the next. Their conflict is more or less replayed in each standalone episode.

Series are very popular. They give the viewer a sense of security; they know what to expect both from the characters and the plot structure. If actors and writers can live with the limitations of the form, they can go on more or less indefinitely. The problems begin when complexity of character and motivation is introduced. It’s a trade off; in the short term it makes the show a lot more compelling, but it is extremely difficult to sustain. Once the viewer invests  in characters, they are generally unwilling to wait indefinitely for  pay-off. They want the characters tolearn something, dammit – if it’s only to say something a bit more emotionally intelligent than, “And I suppose, Rose Tyler, since it’s my last chance to say it…”

In the format of the neverending series, otherwise known as soap opera, a different sleight of hand is usually at work. There is drama and conflict aplenty, but once the crisis has passed the characters affected, assuming they stick around, succumb to an unacknowledged amnesia, and seem totally immune to any emotional fallout. Yorke tells a lovely story about a character in Brookside:

There is an exchange between Sammy and her boyfriend which should perhaps be hung on every show-runner’s wall: ‘You remember, it was when I was in a wheelchair and you were an alcoholic.’

Into the Woods: A Five Act Journey Into Story, p 188

(proof copy)

A notorious example of this phenomenon in recent DW would be Amy’s complete failure to refer to the fact that her baby had been stolen by aliens; she and Rory just carried on travelling with the Doctor regardless. Stephen Moffatt is very much of the “reset to zero with every episode” school of thought. But even he has been unable to resist the lure of the series arc, though while RTD tended to enjoy the emotional pay-off inherent in long-range narrative, Moff prefers the intellectual aspect of keeping everyone guessing.

It seems to me that Moff is most comfortable with iconic characters who come with a ready-made suite of mannerisms and as little backstory as one can get away with. Sherlock ticks those boxes and, regardless of the efforts of legions of fanfic writers, it is possible to enjoy the episodes without paying any serious attention to the precise nature of his private life with John, or for that matter anyone else in the story. It’s the very familiarity of Sherlock’s sketched mannerisms, his quirks of intellect and dialogue, that make him so enjoyable to watch.

I think Moff would like to treat the Doctor similarly, but here he labours under a number of disadvantages. One, his immediate predecessor (and for that matter, Matt Smith’s), was master of the five-act tragedy, preferably by Shakespeare. Ten didn’t just have an inner life, he radiated it like a lethal force field. Two, with Sherlock we get far fewer, longer episodes, allowing us to immerse ourselves in a complicated narrative. Three, Sherlock doesn’t offer writers the irresistible temptation of the whole of time and space as a playground. In Sherlock, as Scotty would say, you cannae change the laws of physics. That kind of discipline often makes for good writing. Sherlock is not allowed to jump into a Rift to return to the scene of the crime. He has to make do with being a genius.

This problem of narrative arc, which Yorke examines at some length, continues to plague Doctor Who. It can’t decide whether it is working to a time span of 45 minutes, 13 episodes or, more recently, 50 years. It tries to succeed on all levels simultaneously, whilst delivering a coherent plot. In the last respect, if not the others, it usually fails.

Back in 1963 we knew very little about the Doctor. Now there’s only one thing we don’t know, and it looks like we might find even that out before long. Because the Doctor was an alien and an enigma, the companions were the point of identification, the way into the story. I would argue that in New Who the last companion that really succeeded in the narrative role s(he) was given was Rose Tyler, which is why she remains so divisive.

Don’t get me wrong, that doesn’t mean I like Rose the best. It means that the person who created her was reasonably clear in his own mind what she was there to do, and it mattered. She was Everywoman, our way in, and she was the catalyst of change and healing in the Doctor’s broken soul. Series One of New Who brought Nine to the point where he recognised this in accepting her devotion to him, sealing the bargain with a kiss that brought about his regeneration. If the show had been cancelled after that, it would have stood as a satisfying conclusion.

Chrisopher Eccleston and Billie Piper in Parting of the Ways

Chrisopher Eccleston and Billie Piper in Parting of the Ways

Series Two was concerned with whether the Doctor could have a romantic relationship and keep his identity and role as saviour of the universe within it. Even though it ended in tragedy, it was arguably a full narrative arc, ending with him opening himself up to that experience and all the joy and anguish it involved.

Things began to go awry in Series Three, however. Complete in itself, it largely concerned the Doctor’s relationship with his past and the Master as his mirror and shadow self. There were two difficulties with this, however. One was that it marginalised Martha. The other was that, by making it so clear he hadn’t got over losing Rose, it became by default the midpoint of a multi-series arc concerning their thwarted romance. It negated the closure of the finale of Series Two, and poor Martha was disposable in both relationships. No wonder she cleared off.

Series Four took this a stage further by negating Donna’s entire narrative arc, to the horror and dismay of her many fans. It is very difficult to keep faith with a story that shows such a wilful disregard for the narrative of change and personal development. It put the Doctor and his feelings centre stage, but sidelined both Donna and Rose. This lack of closure persisted throughout the Specials despite Tennant’s and RTD’s heroic attempts to wrest some kind of coherence from the overall narrative.

Dark Mirror - John Simm as The Master and David Tennant as The Tenth Doctor in The End of Time

Dark Mirror – John Simm as The Master and David Tennant as The Tenth Doctor in The End of Time

It’s all about retconning with Doctor Who. Nobody sits down and works the story out, from start to finish. Instead, the franchise gets renewed and the past rewritten (sometimes literally) to accommodate the opportunities afforded by the extended narrative. Hence the current mess.

I could blame Moff, I could blame RTD. I could complain about Moff’s characters being more symbolism than substance, or RTD setting up an epic romance and then chickening out of the only dramatically coherent way for it to finish. But in fact, I think they’re both trying to do the impossible. No TV show, not even Doctor Who, can survive for 50 years without collapsing under the weight of its own mythos and inner contradictions.

The parts of DW that we see on telly are best viewed, IMHO, as the tips of a huge iceberg. Beneath the sea lie vast tracts of story explored by fandom and the numerous spin-offs, both official and otherwise. What goes on at Big Finish, or A Teaspoon and an Open Mind, is as much DW as anything we see on TV. Arguably more so, since it flourishes under fewer constraints.

So I rather hope that after the 50th Anniversary, they retire it for a while, until we all forget what a muddle it has got itself into. Because at the moment it seems to be degenerating into an orgy of fanservice, less and less comprehensible to the uninitiated. There are some immensely talented people working on the show, as there always have been. This isn’t about Matt Smith vs David Tennant, or RTD vs Moff. It’s about a show not knowing whether it is a series or a serial, and until they sort that one out, it will just continue devouring itself and become less and less fun to watch.

And that would be a pity.