Well, Whovians, Season 8 has been a wild ride. While the first half of the season may have been a bit bumpy, the second half seemed to have a slightly more cohesive story, chugging forward toward the two-part season finale. And oh what a finale it was: action, drama, and feels galore. One of the most common criticisms of Moffat’s work as Doctor Who showrunner is that he won’t give his characters lasting, meaningful consequences to their actions. This time we get some serious consequences. I can’t say much more without a spoiler warning, so here we go!
We geeks have a complicated relationship with religious violence. We live in a world where religious fanatics are practicing conversion by force, and that’s putting the situation in the Middle East in the most sanitized terms possible. It’s hard to find anyone today who would condone any type of religious violence, or try to defend it. Even historical religious violence, which occurred in a different cultural context than our own, makes us uncomfortable. With such an intense reaction to real religious violence, one would think that our pop culture would reflect it. Instead, geek culture seems to accept religious violence in some contexts, but not others. So why is that?
Spoilers for His Dark Materials, Doctor Who, Avatar: The Last Airbender and The Legend of Korra below.
It’s been a while since we last checked in with Doctor Who’s Season 8. We last covered the Season 8 premiere, and I had some mixed feelings about it. The next five episodes haven’t followed much of a cohesive plot. Rather, they’re one-off ideas for what might make an interesting Doctor Who episode. Steven Moffat seems to be asking a lot of questions about who the Doctor really is, and what it means to be the Doctor. We’re also finally getting some character development for the Doctor’s companion, Clara. So has Moffat produced some quality Doctor Who? Sort of.
Spoilers for the first half of Season 8 below.
I often revisit old columns to get ideas for new posts, and Lady Geek Girl’s post on the magic in Welcome to Night Vale is one that’s stuck with me for a while. The strange and popular podcast Welcome to Night Vale makes the abnormal normal, and uses it to critique some of the ideas we have about our society. If you’ve heard any of the Night Vale episodes, you’ll know that Night Vale is the weirdest place ever, full of carnivorous librarians, dog parks with no dogs, and strange floating cats. (Also, actual diversity in its cast. Hah.) Possibly the only normal thing about Night Vale is Cecil and Carlos’s relationship, and the storytelling focuses on this more than it does the abnormal, things. The audience thus gets the reinforced message that yes, the entire world is crazy, but this gay relationship is normal, disabled people should be treated with respect, pronoun choice should be followed, and racism shouldn’t be tolerated. It’s really shockingly effective. And the interesting thing is, when you take this idea and turn it around—when you make the normal abnormal—you can teach lessons and explore characters just as effectively.
Spoilers for Supernatural and Doctor Who below.
Welcome back, Whovians. After eight months of waiting, we’re finally treated to series eight of Doctor Who. We’ve got a new Doctor, a dinosaur, clockwork-y cyborgs, and the Paternoster gang. With the massive amounts of media hype surrounding the series (including some major script and episode leaks), does the series opener live up to its promise? Sort of.
Loads of spoilers for this episode below the cut.
We’ve lamented the downward spiral of Doctor Who’s general quality here before, but one thing that’s annoyed me throughout Moffat’s run is his treatment of religious institutions. More specifically, I’m talking about the fictional Church of the Papal Mainframe, which, it seems, he created more as a foil to the Doctor than as any sort of genuine religious organization.
Just a few days ago, GLAAD released their 2014 Studio Responsibility Index, an annual survey inaugurated last year to grade major Hollywood studios on their representation of LGBTQ+ characters. Sadly, the results aren’t pretty:
Out of the 102 releases GLAAD counted from the major studios in 2013, 17 of them (16.7%) contained characters or impressions identified as either lesbian, gay, bisexual, or transgender. In most cases, these characters received only minutes – or even seconds – of screen time, and were often offensive portrayals.
Ouch! Those are some low numbers. And the surveyors weren’t content with stopping there—they asked film professionals why this might be happening, but got differing answers from each side of the problem. As their introduction says: “From Hollywood executives, we repeatedly heard ‘We’re not getting scripts with LGBT characters,’ while screenwriters told us, ‘The studios don’t want to make films with LGBT characters.'” Some blame can probably be assigned to both parties, but while Hollywood is entrenched in its struggle over whether or not it’s profitable to produce stories with well-written queer characters, television is far outstripping its silver screen cousin.