This is going to probably be my last Doctor Who post until the Christmas special. However, before I retire for a couple weeks, I want to discuss the end of Day of the Doctor. If you haven’t watched the episode yet, note that there are spoilers for that specific episode.
So you’ve watched The Day of the Doctor countless times, you’ve read all there is to read about it, and just to switch things up, you’ve watched The Night of the Doctor a million times, too. No matter what you do, it’s still ages until the Doctor Who Christmas Special, and you’re sick of pointing your sonic screwdriver at your door only for nothing to happen. (Don’t worry, we’ve all been there.) What can a Whovian watch in the meantime? Fortunately, the BBC has got you covered.
Obviously, the Doctor Who fandom is still bathing in the afterglow that was Day of the Doctor. It is at this point that I want to bring up something that has been discussed by a couple people, but never by me.
I am of the opinion that, as long as Steven Moffat is the executive producer of Doctor Who, the show will not be able to grow as a series.
Pope Alexander recently wrote an article on Moffat’s inability to properly kill characters, so I’m going to avoid that. Instead, I’m going to focus on his inability use the full scope of the human condition. Specifically, the lack of LGBTQ+ relationships.
And this lack of LGBTQ+ relationship is not an LGBTQ+ or heterosexual issue. It’s both.
I could not be more pleased with Doctor Who’s 50th anniversary episode. It may not have been perfect, but it certainly was one of the most entertaining episodes of Doctor Who that we’ve seen in a very, very long time.
As such, I believe it is time to make some BOLD predictions concerning what will happen during the episode. BOLD predictions are defined by me as “predictions that make complete sense when thought about.” It’s irony. Just go with it.
So, this was released yesterday:
Watch this. Then hit the jump. There are spoilers ahead.
Originally I wanted to write this post about asexual characters, as this upcoming week is Asexuality Awareness Week. However, besides Tremor, a character from The Movement, I couldn’t think of a single explicitly, canonically asexual character in, well, anything. I did a little digging—that is to say, a Google search—and turned up this list on AVEN’s Asexuality wiki.
The list includes characters from works as diverse as The Hobbit, Inception, and The Melancholy of Haruhi Suzumiya, but in the end, reading it just made me sad. It’s a very brief list, you see, and a large percentage of the characters included fall more under ‘supposed asexual’ than ‘confirmed asexual’. Furthermore, characters like the Doctor and Haruhi Suzumiya‘s Yuki Nagato are aliens, which presents a twofold problem: one, it implies that asexual behavior is non-human, and two, without representatives from the rest of their species, it’s unclear whether their asexuality is personal or societal. One particular thing that stuck with me, though, is this: is it fair to apply modern labels to characters set in the past because they display behaviors consistent with those modern labels?
There were plenty of amazing cosplayers at NYCC last weekend. Some of my favorites are here, but this is just a sampling of the impressive turnout. If you were at the convention, what was your favorite costume that you saw?
I have complained before about the lack of diversity and minority representation in fanfiction before, but complaining about it isn’t enough for me. In my head and in my heart, I have always truly believed that fanfiction is both for pleasure and entertainment, as well as a safe space for authors to finally create stories with diverse characters that you don’t often get to see on TV. However,
a trend has emerged such that most fanfiction centers around two straight, white male leads whom authors write as queer, otherwise known as slash fanfiction. These types of pairings have dominated fandom to the point that there is significantly less fanfiction featuring any other type of character or pairing. Canonically gay characters, any lesbian pairings, female characters, or characters of color seem to be almost utterly left out of fanfiction. And in some cases, even when they are incorporated, they end up being vilified even more in the fanfiction than in the TV shows they originally come from.
On top of this cross-fandom endemic problem is the issue that these typical slash pairings have dominated so much of the fandom that many authors have confessed to me that they would write different fanfiction if they thought other people would actually read it.
It was then I realized that I was part of the problem.
Let’s talk about Matt Smith. Don’t you just love those words? In case you read this blog and you don’t know who Matt Smith is (in which case I’m very confused about who you are), he is the actor who plays The Eleventh Doctor in the long-running BBC scifi show Doctor Who. He’s quite talented, to say nothing of his boyish good looks and impeccable hair on camera (swoon!). He’s also recently filmed the last of the episodes in which he will play the Doctor. It is the end of an era, as he passes the torch he received from David Tennant to Peter Capaldi.
While you might know him primarily as the Doctor, the BAFTA award-winning Smith has also done a fair amount of stage-acting. 2005 saw him perform as the outspoken young student Lockwood in The History Boys at the Royal National Theatre. In 2007, Smith played Henry in the Polly Stenham play That Face (which is a must-see), and was nominated for an Olivier Award. As a matter of fact, Matt Smith will be leaving the silver screen, if only momentarily, to return to his theatre roots… as a sadistic serial murderer.
Smith will take up the role of Patrick Bateman, the titular antihero of the novel “American Psycho”, in Rupert Goold’s London production of an eponymous musical. Something about imagining Matt Smith sing his way through emotional manipulations and a series of violent murders is darkly comical, and exciting, though I’m not sure how else to feel about it. By the time the last episode featuring the Eleventh Doctor airs, Smith will be well into his melodic axe-murdering, as the official run lasts from December 12th to January 25th at the Almeida Theatre, with previews as early as December 3rd.
While I’m certain that Smith is the biggest name attached to this production, further reading of the billing will reveal some other familiar names, like Roberto Aguirre-Sacasa, charged with transforming Ellis’s novel into a play. The author and playwright has turned his pen to Glee and the Broadway production of Spider-Man: Turn Off the Dark, to say nothing of his extensive work at Marvel Comics on titles like Loki, Secret Invasion, Marvel Knights, Nightcrawler, and The Sensational Spider-Man. His plays have earned him GLAAD Media Award nominations, The Excellence in Playwriting Award from the New York International Fringe Festival, and a Harvey Award for Marvel Knights Four. The music for this “American Psycho” production was written by one Duncan Sheik, who also wrote music for the Tony Award-winning Spring Awakening.
The production will certainly not lack for talent, but I am left to wonder what tone this production will use to address the rather violent content of the novel, and how it will compare to the 2000 film which starred Christian Bale. I predict that we’ll get our own opportunity to evaluate it. Should the musical be well-reviewed and well-received, surely having its viewership boosted by Smith’s popularity, it could soon make its way across the pond.