Don't Interrupt The Flow

A small gripe, this, and in the bigger scheme of things doesn't count for a great deal. But it does, to use the Aussie vernacular, get my goat.

I'm at that age / station in life / financial situation where going out regularly - pubs, meals, cinema, cultural venues, etc - is nigh on an impossibility. They are special treats that must be saved up for and savoured. I don't have a problem with this. This is how life is at the moment and others have it far worse.

But for me a perfect way of unwinding after a hard day at work is simply time curled up on the sofa with my good lady wife watching some choice telly. Staying in and watching telly is undervalued and mis-sold in the modern media representation of our dynamic, thrusting, young techno-adept society.

But I'll bet I'm not alone in holding various TV show up as the highpoint of my week and viewing them as some kind of personal reward for another day at work got through / another ordeal endured.

Be it Doctor Who, The Musketeers, Dragon's Den, the forthcoming re-adaption of Poldark - whatever your poison - these humble little treats afforded us by a wonderfully creative UK television and movie industry (that is largely unsupported by the UK government) are what keep most of us going during the mundane, day-to-day drag of our everyday existence.

So it pisses me off - admittedly disproportionately to the crime - when the programming schedulers suddenly interrupt a series run to put something else on instead. Sport usually or some yaw-yawing political debate.

The current run of The Musketeers has been, to my memory, interrupted no less than 3 times. Now I recognise, with consummate bad timing for this post, that the current hiatus is because of Comic Relief next week and that's fine. That's understandable, acceptable and palatable. But the first two occasions were because of sporting fixtures.

Now I will also admit that I am not a sport fan. I am in fact the diametric opposite. I loathe televised sport. Watching other people perform sport is like watching other people play computer games without participating yourself or watching joggers run round the park. What is the point?

But by the by.

If I were the writer / producer / actor in any of these shows whose transmission run is broken for the sake of a football match I would be spitting feathers. A good drama series has a flow to it. An over-arc in addition to the arc of each individual episode. That flow is part of the creative drive of the show. And though some might argue that with the advent of catch-up TV scheduling no longer matters, historically the general public has an expectation that if a TV drama series is broadcast at some pre-specified and henceforth established time on a week evening then that is the slot which it will hold for all perpetuity - or at least until the series terminates. England expects. And I'm sure Scotland, Wales and Ireland do too.

To have all that time and creative energy, that carefully crafted flow cast aside for a rugby match is infuriating and insulting. I'm not knocking sport, really I'm not. If that's your bag good for you. Be welcome to it. But given the sheer amount of TV channels these days - and many solely devoted to sport - why should a sporting fixture be allowed to shoehorn its way into another schedule to attract probably less viewers than have been driven away by the banishment of the original show? Shove it onto a sports channel where the jogger-watchers can drink their beer, eat their pies and vicariously enjoy the healthier lifestyle of other people without incurring the wrath of the more tasteful majority!

Like I said, it's a small gripe. And I will accept all accusations that I am a stick-in-the-mud, dyed-in-the-wool traditionalist but, Goddamnit, Friday night is "Musketeers night" and that's all there is to it!

Sonic Doom

I don’t, as a rule, like other people’s music.
 
This is a conclusion I have reached through a lifetime of empiric research.
 
“Other people” – certainly in Leamington Spa – invariably have poor taste, play 'up' and 'slow' tempo songs at times that are not appropriate to my mood or are white and like to think that below the surface they are Dr Dre’s main man and spiritual bro.
 
The above facts, on the whole, do not impinge on my life too much or cause me to impinge on others.
 
Except when, as happened yesterday, I was walking down the street minding my own business when the keys in my trouser pocket began to oscillate to some kind of sonic disruption that was fast approaching me from the rear.
 
To my eternal regret it was neither Matt Smith with his Doctor Who screwdriver or Keeley Hawes with a vibrator. It was in fact some teenager’s third-rate pimp mobile from the bowels of which was emanating the kind of low level bass frequency normally associated with fracking operations in Canada.
 
I felt the car’s approach long before I heard the actual music and longer before I heard the tinplate rattle of the engine. I swear the air shimmered in a sort of heat haze halo around the extremities of the vehicle. Like some kind of vibrato field had been created that would pulp anything solid that dared to cross its boundaries. Anyone with gallstones in the immediate vicinity would have found themselves instantly cured.

I cannot for the life of me tell you what musical track the guy was playing. There was nothing but a solid, constant bass rumble. The sound a black hole makes when it incessantly sucks all matter and light around it into its greedy maw. And let me tell you that this guy’s music etiquette certainly sucked like a black hole. He didn’t give a damn about anyone else. He didn’t give a damn about the asphalt powdering beneath the shadow of his passing. He didn’t give a damn about the rivets and bolts that were undoubtedly being shaken loose from the engine of the very vehicle he was enveloped within. He didn’t give a damn that even when he had driven four hundred yards down the road from me, the recycling boxes that the good people of Leamington Spa had left out for the sake of eco-conservation were still audibly vibrating from the residual shockwaves he had left behind.
 
That last is a God's honest actual fact.
 
The whole episode just made me want to sneer out loud. In fact I probably did precisely that but nobody heard me, not with the blood still pouring out of their ears.
 
Why do people do this kind of thing? Why? It is invariably men that do it which leads me to think that testosterone is a contributing factor. Are these tectonic plate shifting mega-rumbles the human male’s equivalent to birdsong and stags flexing their bruising antlers? Are women attracted by the possibility of having their DNA granulated at the quantum level by the bass line of Showaddywaddy’s “Under The Moon Of Love” played at a decibel level that can actually be heard on the moon?
 
Is that what women go for these days? Having their atoms split open by a sonic scalpel?
 
Is this both safe sex and its soundtrack?
 
I don’t know.
 
Once my eardrums had returned to their normal concave state I really wasn’t sure if I was coming or going. I only knew that the earth had moved for me and I was still not at all satisfied.

Leamington Is Full Of The Strangest People, no. 4: Anti ID Theft Derek

Having enjoyed a hiatus from gazing at the inevitably hairy naval of my hometown of Leamington Spa, I thought it was about time I resurrected this short series of posts that throw a blogging super trouper onto the underbelly of Queen Victoria’s favourite Spa town…

Today is the turn of Anti ID Theft Derek.

I first encountered Derek in Tesco which in terms of meeting weird people has the highest weird-to-normal ratio of any other venue in the UK (not including Stringfellow’s or Spearmint Rhino or other establishments of that ilk).

Now, Derek is one of those people with a very definite sense of identity. If he was a mallard he wouldn’t be content with cobalt blue and electric green feathers, no, he would be blinging himself up with bird of paradise plumage and other peacockery. Derek, you see, likes a bit of bling. Gold chains (multiple) around his neck; gold chains (multiple) around his wrist and the lot topped off with a porkpie hat resplendent with a red feather erupting up from the headband like a miniature erection.

Identity is a big thing with Derek. You cannot miss Derek. And Derek, I am sure, never fails to miss himself – Alzheimer’s is never going to be in Derek’s genetic makeup though obsessive compulsive behaviour might be.

Now talking of bling has probably given you the impression that Derek is in his twenties. Some thrusting young buck with a uranium knuckleduster hampering his joystick skills. This is not the case. Derek is in his sixties or I am the unwanted love-child of John Lennon and Lisa Tarbuck.

An old(er) man with bling is never a good thing. For one thing it can really disrupt an MRI scan just when you really need it the most.

Anyway, what caught my eye about Derek (aside from the gold accoutrements and the red feather stiffy) was the way he paid for his goods (one bottle of vodka and a four pack of cheap beer). He paid by card – nothing strange in that – but when it came time to punch in the PIN he placed his wallet tight over the machine like a barrier and then sealed the top of it with his own face thus appearing as if he had on a welding mask and was about to administer some kind of industrial coup d’état to the checkout machine. In fact he reminded me a little of that episode of Doctor Who where people had gas masks erupting out of their faces. I half expecting him to start asking the entire shop in a high-pitched voice: “are you my mummy”. Which the cashier would have had to answer no to as he was, well, a he.

Talk about paranoia.

Did he really think I was going to look over his tweedy shoulder, memorize his PIN code and then put it in The Times via some improbable crossword cypher or just publish it on-line in some easy-to-download format for America’s Prism surveillance programme to pick up on?

Plainly Derek has some real identity issues.

He’s scared people are going to want to steal his identity above all others and become the oddball glory that is him.

And I have to say, thinking about it, who wouldn’t want to swan around in a hat that comes complete with its own wafty hard-on?

Exactly.

I rest my case.

Tawdry Telly

It struck me the other day how little television my boys watch. Their TV time seems to be confined to meal times; times when, by necessity, their hands are too full of cutlery to be able to manipulate a joypad or a game controller. And even then, half the time, they’re not soaking up some faceless TV scheduler’s entertainment menu but are watching a DVD or something we’ve pre-recorded and stored on the set-top box.

How different things were when I was a kid.

There was no choice other than ITV and BBC. By the time I was on the scene the Beeb was for old traditionalists (my grandparents were big BBC-ers) and ITV was for young thrusting hip-young things (which enticed my parents into its viewing fold).

Hence I never watched Doctor Who as a child because it was on the BBC and we rarely watched the BBC. The BBC seemed glamorous to me, simply because it was forbidden fruit. Or seemed that way. I seem to remember watching Bod and the Mr Men as a child and they were definitely BBC. I suspect my parent’s ITV leanings were abandoned temporarily when the BBC’s kid’s hour was on as a tactic to keep me and my sisters quiet and malleable for a little while longer.

My overriding memory of my pre-teen telly though is that on the whole it felt rather tawdry. But maybe that was just the seventies? Sure, I have fond memories of Daktari, Tarzan and Robinson Crusoe on a Saturday morning and, of course, the magnificent Tiswas… but overshadowing all these is the over-arching memory of how utterly awful weekend telly was for kids in the seventies.

My trouble was I never really “played out” as a kid. I wasn’t a street kid. I didn’t learn to ride a bike until my twenties. I was stuck indoors. My window on the world, on reality, was via the TV. Via ITV.

And on a weekend ITV delivered The Grumbleweeds. It coughed up Russ Abbott’s Madhouse. It vomited out 3-2-1. Recalling Bullseye and Family Fortunes – the latter even fronted by the great Bob Monkhouse – make me depressed in equal measure. I sometimes think that no telly at all would have been better.

For some reason, when I think of all these shows they appear in my mind as if nicotine stained. As if dyed brown with tobacco juice. I think tank-tops and brown plaid. And orange shirts. And carbuncly men with faces like blighted potatoes and working men’s club accents holding microphones topped with full-sized afros. I recall the subconscious despair that I lived with before the obvious question finally formed itself in my burgeoning little brain: is this it? Is this all that life has to offer?

The answer, of course, was no. There was the BBC. And the multi-coloured Swapshop revolution of the eighties. And then Channel 4. And satellite television. And cable. And eventually digital. And HD. And iPlayer. And choice.

Glorious, glorious choice.

How far we have come since Ted Rogers and Dusty Bin. For me, the mid-eighties is when television began to come good. When the new TV choices that became available began to heal some of the deep-seated wounds of the drab seventies.

I’m not sure what TV memories my boys will have when they are older. I don’t think it is possible for computer games to impinge on the memory in quite the same the way that a TV show does (yeah, I remember pressing LEFT RIGHT RIGHT and the X button on that particular day doesn’t cut the same mustard as remembering when Stu-pot and his mates finally faced down Gripper Stebson in Grange Hill) and I sometimes worry that they’re missing out on the shared peer experience of watching a truly great TV show at the exact same time that your mates are in their own houses.

But on the whole, if they’re being spared 3-2-1 and The Grumbleweeds, I am reconciled that the good effects of progress outweigh the bad. And it does seem to be that, these days, what you play is far more important than what you watch.

As for me though, I think I’ll pass up on Halo and get Daktari on DVD. I’m sure old wine in a new wine skin will taste just as good. But if my boys would rather play outside than watch it with me, I’ll be inclined to let them.

I'll Give You A Klout Around The Ear

I haven't, if I'm honest, got Klout.

I haven't got it and I don't get it.

I have, at best, a tolerate / hate relationship with Facebook. When I think about it too much I feel my lips pull up into a sneer as I calculate the myriad ways that this whole particular social networking platform is spiritually and morally wrong. When I don't think about it at all I post funny pictures and status updates with comedic value.

Occasionally I'll let Twitter be my bitch. But I treat it mean and keep it locked up in the basement for most of the time. I'll cold-shoulder it for weeks on end before gracing it with a brief caress; before I brush a finger across its erogenous zone. And then, just as its about to come, I'll drop it.

Screw you, Twitter. You love it.

But Klout foxes me.

I keep getting Klout requests and notifications and I cannot for the life of me work out what I am supposed to do with them. I can't even work out if I'm meant to be pleased that someone has Klouted me. In common parlace I'd say probably not; I ought to be pissed off. But people are sending them to me in the same spirit as a poke on Facebook. And even I know that a good poke is good for the soul.

But what the fuck is Klout?

Can someone please tell me?

I click on the links when someone throws a Klout my way and, yes, a page opens in my browser that looks rather glossy and slick but I cannot see any direction at all as to what I am supposed to do next. Other than to shrug my shoulders and think to myself, "OK, that's several hundred nanoseconds of my life that I'll never be able to devote back to internet porn" and then I close down the window.

I'm guessing Klout is some kind of competition. A popularity contest. I'm guessing the idea is to build up some kind of influence on the internet and Klout gauges just how much clout one has accrued.

But it also seems transparent to me that other web sites don't give a shit what Klout says so having acres of clout on Klout is going to benefit me a fat load of diddly-squat.

Will it get me a table reservation at The Ivy for tomorrow lunchtime? No.

Will it get me onto the film set of Doctor Who and into the knickers of Alex Kingston? No.

Will it buy me credit enough with my bank manager than I can resign from my job with instant effect and never have to return next week to it when my holiday ends? No.

In that case I am not interested.

The only clout you're going to get from me, Klout, is the back of my hand.

Oi! Moffat! No!

It was the pressure. It was fear. The motivation was stinking lily-livered terror.

That’s my theory anyway.

It was announced last night that Steven Moffat – Doctor Who script writing major domo – has announced that the next series of DW will be the last to feature Amy Pond and Rory Whateverhislastnameis. They’re going to be written out via a “heart rending storyline”.

*furious sigh*

Well, I’m just sickened. Sickened.

Not just because Amy Pond (Karen Gillan) is leggy and red-headed (actually that probably ought to be “not just in spite of”). Not just because Amy has been the best DW companion since Donna Noble. Not just because Amy is River Song’s mum.

But because I was planning to write a DW script in the New Year centred around Rory. I had it all planned out and everything. A nice WWII story set around the D-Day landings and featuring Rory’s (about to be invented by me) grandfather. I’d even begun to research odd happenings on D-Day so that I could have used a weird happening as a plot device to shoehorn The Doctor into proceedings.

But no. The uber-work has been nipped in the bud. The rose has been cut before it could bloom. My plans have been scuppered. Sabotaged.

Moffat heard about my plan. He must have. It’s the only explanation.

“Christ on a unicycle,” He probably said. “Steve is going to write a script and send it into the Beeb. The game will be up. I can’t withstand that kind of competition. I need to pull the rug out from under him.”

And thus he hit low and hard. Removed the two characters that were integral to my plot.

Karen Gillan I am sorry. I am so truly sorry. I feel so responsible for your having been written out of the show. And Mr Rory Actor (I can never remember your real name) I would have made you a star. And I would have learnt your real name off by heart. It would have been a fabulous story. Worthy of being the 2012 Christmas special.

But now I’m going to have to wait until after the next series. See who the new companions will be. Adapt my story to their personality and the way they speak. It’ll be 2013 at the earliest.

Because I’m not giving up. You hear me, Moffat? You ain’t off the hook yet!

I’m coming for you and there won’t be a Tardis big enough for you to hide in!

Is This Man Taking Over The World?

Those of you who do not have kids or are, perhaps, indisposed to watching copious amounts of kid’s telly off your own bat will probably be unaware of the clear and present danger that is currently facing our nation.

You will perhaps be lying blissfully idle in your Rugby World Cup bliss; sniggering smugly as you watch Mock The Week or some other adult satire game-show or just sniggering stupidly at the silly people in Big Brother who behave exactly like what you do only wiv-out all the grace and charm you usually exhibit when you give Tel a bit of earache in Lidl for going for the cheap brand cigarettes.

You will be unaware. You will be asleep.

And whether you are a sleeping dragon or a sleeping dog remains to be seen.

One man is trying to take over the world.

He is everywhere. He is omnipresent. Both in body and in voice.

You cannot move anywhere on the CBeebie’s channel without bumping into the golf-ball nose of Justin Fletcher. It’s like he has turned the entire channel into his own personal star vehicle (complete with Pope-like glass viewing dome and furry dice). It started innocuously enough. The Tweenies. Higgledy-House. Something Special. Fine, we thought. He’s just working hard. Paying the bills. But then his voice started appearing on its own in other shows too. Just like Obi Wan Kenobi’s in fact. “Use the spotty bag, Mr Tumble! Use the spotty bag!” Timmy Time, Chuggington, Sean The Sheep – to name but three.

But that wasn’t enough for Citizen Fletcher, oh no. Then came Gigglebiz. An entire show featuring nothing but Justin playing a host of different vaudeville-esque characters. Endless, wall-to-wall Justin. Justin as a disco dancing king. Justin as a female TV naturalist called Anna Conda. Justin as a pantomime dame complete with massive honking breasts.

I felt uneasy. I felt uncomfortable.

This was getting a bit much.

Even in his heyday Noel Edmonds never got everywhere like this.

But the kids were lapping it up. The kids were being sucked in. There was nothing we could do to stem the tide.

And now it is too late. Now we have Justin’s House. Justin’s brand new show. Set in Justinland.

I am not joking.

Am I the only person who can see that this is proof of an ego grown out of all control? An id that has gone global? His catchphrase song on Justin’s House is, “Let’s wibble, let’s wobble.” It makes me shudder because I know there is a secret message hidden in there somewhere, some dire threat like the alien countdown thing in Independence Day. But despite the best minds at Bletchley Park working on it night and day we haven’t yet been able to break the code.

I know. I know. You’re all laughing. You’re all dismissing this as the by-product of a fevered but genius mind. I’m reading too much into it. I’ve lost the plot. I need a quick fix of BBC Four. Even a Channel Five documentary. But you’ll be sorry. You’ll all be sorry when Justin starts popping up in your life too (and squeezing his man-boobs so that they make a sound like a car horn). When Justin appears in Doctor Who as the Doctor’s new assistant you’ll remember my words. When Justin appears in Eastenders as Milkshake Jake and starts flinging whipped cream over that Mitchell fellow you will all quail and remember.

When Justin and his magic spotty bag appears outside number 10 with the new Budget wrapped up in cellophane inside it you will know the end has finally come.

And you’ll all be sorry then.

So just remember: if you see the man in the photo above please approach him with severe caution – he will teach you to say “I am special” in Sign Language and you will not be able to resist.

Go with care, my friends. And don’t say I didn’t warn you!

My Set Top Box F*cked River Song

You’ve got to love digital technology.

Our set top box is like a virtual octopus. It can multitask. And I don’t mean do stuff sequentially. I mean it can do lots of stuff all at the same time. It can record one channel whilst allowing you to watch another. It can even record 2 channels at once whilst allowing you to play back a recording you made earlier. It can even pause a live programme should you need a loo break and then resume playing it when you are ready so that you don’t miss a single second of your favourite show. Apparently the technical term for this activity is “deferring”.

It’s a cool and convenient little facility and no mistake.

And so we decided to employ it during the season finale of Doctor Who.

Now, I need to give you some additional technical information here. It won’t sound very technical but believe me it is. We were watching Doctor Who. Got that? We had programmed our set top box to record Merlin straight afterwards (eldest boy’s bed time, etc, but he wanted to watch it the next day). OK? Still with me? It should not have been a problem.

Due to a few household happenings and an unplanned for loo break, however, we’d ended up having to defer Doctor Who. It should be fine, I thought, cos this clever technological monstrosity can record 2 things at once so even if we defer Doctor Who until it overlaps Merlin it will be able to cope. We won’t miss a damned thing.

So. Cut to us all sucking up the spectacular sci-fi feast that was the Doctor Who finale. I’m not going to give any spoilers here (sweetie) but it was brilliant. The best DW season finale ever. Packed to the gills, overflowing with ideas, spectacle and heart stopping emotion. The finest bit of television I’ve seen for a long time. If you haven’t seen it yet you’re in for a treat. Superb acting from everyone but especially Matt Smith. And he got to snog Alex Kingston. On the top of a pyramid. Lucky git.

But I digress.

We were 5 minutes away from the end. The Doctor was dead. Seemingly so. River Song (Alex Kingston) and Amy Pond (Karen Gillan) were discussing his demise over a bottle of red. River laughed: but of course the Doctor isn’t dead!

Well, we’d already guessed that given that they’ve lined up Outnumbered's foxy mum, Claire Skinner, for the DW Christmas special. We just needed to know the clever plot device that had allowed this to happen.

How did he escape? How did he do it?

The small ingenious cogs of the script began to turn. The moment, the finale denouement was about to be revealed...

And the bloody set top box stops deferring Doctor Who and suddenly switches straight to real time and commences recording Merlin.

Aaaaargh!

No. No. No.

It can record 2 sodding things at once! How can it not cope with this?! It’s supposed to be clever, for Heaven’s sake!

Doh. Because it can’t record 2 separate things that are being broadcast consecutively on the same channel. The programmed recording takes precedence over the ad hoc ‘live’ recording. It can’t cope with overlapping.

Gah!

Hence, my set top box f*cked River Song. And while I am secretly admiring of that singularly enviable feat (in a metaphorical sense) I am mainly seething at its black, soft moulded casing this morning and considering swapping it out for a top loading VCR.

‘Cos we had to do something that I haven’t done since I was a teenager.

We had to wait for the repeat to be broadcast in order to see what we’d missed (which, being modern times, was shown the very next day on BBC3).

Yes, I know that’s only 24 hours but in this modern world of instant gratification and immediate sensory download that’s like watching Star Wars at the cinema as a kid and then having to wait 5 whole years for it to be finally released on video before you can watch it again.

The great god technology is dead.

Long live technology.

Officially Middle Aged

That’s it. I’m at the brow of the hill. I’m looking down at the giddy descent into old age.

The sign post that I am leaning on whilst I catch my breath says “Middle Aged”.

How do I know this?

Matt Smith told me. Steven Moffat told me. The BBC told me.

In short, Doctor Who told me.

Years ago, I would have been all over Amy Pond (played by Karen Gillan) like (to quote Sandy Cheeks from Spongebob Squarepants) ugly on an ape (Gorilla Bananas: no offense intended). She would have ignited day dreams and night dreams so hot and puerile that the script writers of The Inbetweeners would have recoiled in horror and told me to grow up. Luscious lips, long red hair, long legs and a lust-worthy Scottish accent. I mean, can you imagine anything sexier than being bossed about sexually by someone who sounds like a rebel from Balamory? I dinnae care what ye wannae doo – jus’ git doon there an’ git busy, yer filthy, dirty little Sassenach...

Yes, ma’am!

But the flames have not been ignited. I look at Amy Pond and I see the lips and the hair and the legs and I think, Christ, I hope she’s warm enough; I hope her mother sent her to work with a nice thermos flask of hot soup and one of those high fibre bars with chunks of fruit in it. She’s so young. She ought to have a chaperone on set. I hope she’s being looked after properly. I hear her accent and I hear my gran from Scotland asking me if am doing well at school and would I like another Werther’s Original?

I have reached that age when I am automatically filtering out girls like Amy Pond from my fantasy directory. I am rubber stamping her in my mind with the words Not Age Appropriate.

But more than this, what tells me most of all that I have embraced middle age is the discovery that my fires are now being ignited by the older woman. Because while Amy Pond might not be wetting my whistle, River Song (played by Alex Kingston) most definitely is. My whistle is positively drowning in wetness.

Sorry. Possibly too much info.

River Song is magnificent. River Song is sexy. Wild hair. Décolletage that could conceal an AK-47 and a few hundred spare rounds. Beautiful lips and forever arching upward eye brows. And most of all an attitude that exudes knowing confidence and a sense of being more than comfortable with herself.

Like I said: magnificent.

What sums it up best for me is after regenerating in last Saturday’s episode into the River Song we all know and love she took one look at herself and oozed, “ooh, it’s all going on down there isn’t it...? I feel so... mature.”

Mature in that second, in the way River Song enunciated it, became profoundly OK. It became sexy and desirable. It became exciting and fun. It became wicked in the very, very best way.

So yeah. I’m on the brow of the hill. And I’m leaning on that sign that says “Middle Aged”. But only as a precursor to pole dancing with it.

Does anyone care to join me?

No, No, No! That Is Not How You Do Sci-fi!

+++ APOLOGIES +++ MINORITY INTEREST NERD POST +++

One of the drawbacks of having a pre-teen boy around the house is the sighing acceptance of having to watch crap sci-fi on TV. Because when you are young and a boy, absolutely any sci-fi is good even when the quality control guys were plainly out of their minds on rohipnol and the ultimate product is complete and utter shite. I know this for a fact because I was once both a boy and young and thought that Hawk The Slayer was well scripted.

As you get older the scales fall from your eyes and you realize that sci-fi is the altar upon which many make offerings and most of them end up burnt. And not in a good way either.

Take Primeval. It should in theory work. It's like Einstein's theory of complete relativity. It's all there. Kind of. Dinosaurs. Big guns. Time travel. Sexy blonde chick. Dopy-but-good-looking nice guy. But somehow it just doesn't work on the quantum level. There's something missing. The atoms don't play ball with each other. The only black hole that has been created is the script writer's arse that the plot continually falls into.

I'm not quite sure what ITV are playing at with Primeval. It got ditched after the last series. Someone plainly thought it needed to be put out of our misery and they put a gun to its prehistoric head and pulled the trigger. Respect. But then some other buffoon decided to resurrect it and Haven holidays decided to sponsor it and suddenly its back on ITV. The show that refuses to die. The show that staggers around a shopping mall crying, "Brains! Brains!" in the pathetic hope that somebody will actually donate one.

It ain't gonna happen.

I have this theory that ITV just don't do good sci-fi. They don't get it. Or rather they get the veneer of it. The patina. Yes, we need monsters. Yes, we need chases. Yes, we need guns and A-Team style violence.

But where the hell is the science? Where is the consistency in the plot? Where is the emotional heart?

Primeval has none of these.

First series, the space-time continuum anomalies that enable random acts of time travel (try saying that without sounding like an absolute cock) merely brought dinosaurs forward to our time. But after that, realizing (I guess) that there are only so many dinosaurs you can pick from the Top Trumps Dinosaurs set before you have to do some, like, real boring proper research in a library and shit, the show's writers decided, oh sod it, let's have our space-time continuum anomalies also open up portals on parallel universes so we can just make any kind of monster appear.

Hence we now have dragons appearing alongside the occasional T-Rex.

Bullshit! Bollocks! Balderdash!

That is just lazy. Damned lazy. Lazy and inconsistent.

And this laziness infects the whole show. The plots are scanty at the best of times but they are now reduced to threads of American-corporate media-speak strung out between a relentless barrage of car chases and dinosaur chases.

Scene 1: the team shout and argue with their boss in the big science base. Scene 2: a dinosaur appears right outside and the team chase it in their cars. Scene 3: the boss shouts at his team via a radio. Scene 4: the team in their cars are chased by the dinosaur. Scene 5: dopy guy messes things up but in a good way and saves the day. Sexy blonde girl pouts but somehow doesn't look sexy. Scene 6: team return to base where the boss shouts at them but in a good way. Scene 7: repeat this entire process until the end credits roll.

Gaaah! (This is the sound a velociraptor makes when it realizes all those years treading the boards at the Sylvia Young Stage School learning Hamlet have been a complete and utter waste of time.)

The characters are flat and have no emotional life outside the "dinosaur world" that has been hastily erected around them. The dinosaurs are just CGI'd lumps of meat that run around bumping into industrial size storage containers. And the science behind the show is as convincing as Barney the Purple Dinosaur trying to convince a judge he isn't a serial kiddie fiddler.

Lord knows that Doctor Who doesn't always hit the mark but at least there is always an emotional arc and a plot arc. It's not all about the monsters and the chases. It's about emotionally real characters being placed in moments of crisis and jeopardy that dare us to dream and wonder about future worlds.

And that, ITV, is how science fiction is supposed to work. Please take note.

Siege Mentality

The dust is being shaken from the ceiling beams here at Blake Towers. A battering ram is attempting to splinter the wood of the drawbridge whilst evil machinations are under way to circumvent my portcullis.

I’m manning the arrow slits and I have boiling oil on standby but I fear it is only a matter of time.

Outside, beyond my moat (replete with fishing gnomes and ornamental carp), is an army blacker and more perfidious than the entire horde of Mordor / Voldermort / X Factor (choose your own poison and insert it here):

Seasonal illness.

For the last 2 Christmases one or other of us has been ill. 2 years ago not only was Karen ill but the good nurses at the NHS conspired to give Tom his MMR jab at just the right date that his reaction to it would fall on Christmas Eve / Christmas Day. Thanks a bunch. And then last year Tom was ill again without any help from anybody except maybe the many agents of illness who, let’s be honest, it is difficult to avoid. I mean you might be one right now without even knowing it.

I’m desperately hoping for an illness free Christmas this year. A Christmas where the kids are happy not grumpy. A Christmas when Karen and I are not exhausted because we have not been up the night before tending to sick offspring.

But the signs are not good.

Karen was hospitalized last week and though she is back home she can still not be awarded a clean bill of health. Recovery from any illness at our age with 2 kids running amuck is necessarily slow and hampered. And then Ben was sick over the weekend. Literally sick. Vomit City. He did that typical kid thing of announcing he felt sick 3 or 4 times, wasting a good minute as he did so and then walked through the kitchen – past the sink which although not designed for such things is an ideal receptacle for one’s emerging stomach lining – and instead positioned himself over the nice white living room carpet. A Jackson Pollock ensured. He then stepped a couple of paces forward and added a side dish to the hall carpet. Two birds with one stone so to speak.

Tom thankfully has not been sick (and I am saying that quietly unless I tempt Fate) but has had a “runny bum”. This may be down to a spot of teething, the same bug that Ben may or not have or even another bug entirely. Who knows? There are so frigging many.

Now believe me. I am trying to count my blessings. Because there are many this Christmas (and indeed all the year round) who would be happy to be suffering from mere stomach bugs and colds. The odd bit of temporary vomiting would be light relief. I don’t know how good I’ve got it.

But for the last few months I feel like my household has been sucked up Doctor Who style into a time vortex and deposited in the middle of a Cholera epidemic.

I am sick of feeling sick. And sick of cleaning up sick.

All I want for Christmas and all I wish for mine and yours is good health, cheer and excellent spirit.

(Though a Lego set would be nice.)

The Return Of The Der-Bains

When you’re at school certain insults do the rounds like a weird kind of grammatical virus. Two that stand out for me are “wassock” and “pranite”, both of which became very popular in the early eighties and were slung about my junior school playground like disyllabic Molotov cocktails.

But the one that caught on the most and had the biggest impact was “der-brain”. Anyone who did or said anything remotely idiotic (which when you are 10 or 11 is a regular occurrence) was declaimed in as loud a voice as possible as being a “der-brain”. Adopting a heavily spasticated tone of voice was also thought de rigeur when using this insult.

I’m sure this insult went national during the eighties and was heard in playgrounds (and building sites) all over the land. However, what I am sure was a purely local phenomenon was the transmutation that occurred one day when in my school playground at least “der-brain” suddenly morphed into “der-bain”. The meaning stayed the same but the loss of that single “r” somehow rendered the insult (a) funnier and (b) more effective. Being labelled a “der-bain” was a good degree worse than being labelled a “der-brain”.

Eventually, as these things do, these schoolyard insults died away to be replaced with boring, standardized, post puberty expletive combinations. Insulting someone became a cold and precise undertaking with no real room for imagination or the invention of new language forms. So “der-brain” – and indeed “der-bain” – died a natural death and dropped away from the general lexicon of childhood foulmouthedness.

Until last Sunday.

I must have dug “der-bain” out of my memory and uttered it at home or talked about it to Karen... who knows... but suddenly I heard it coming out of the mouth of Ben, my eldest boy. He was playing in the bath with some minifigures while I did some chores in the office and I could hear him re-enacting various scenes from Doctor Who. David Tennant’s last episode featuring the return of the Timelords (and a viciously spitting Timothy Dalton) had obviously made a big impression.

The improvised script when something like this:

Timelords: kneel before us petty humans! You are no match for us – we are far cleverer than you are and you are nothing!

Humans: no we’re not; we’re cleverer than you think and we will defeat you, you der-bains...!

I have to say I stumbled in my chores and had to stifle a giggle. It took me right back to the playground. I am now wondering if, with some clever auto-suggestion, I can resurrect “wassock” and “pranite” for a new generation.

In the meantime, if Steven Moffatt and the BBC would like to purchase a brand new Doctor Who script with cool playground lingo they can contact me via this blog.

Toodle-pip, der-bains.

Who Needs Easter Eggs When You Have Eye Candy...?

Apologies to my international readers (oh how I love saying that) who don't have access to UK terrestrial television but it's been a bumper weekend for both TV and the BBC. Friday saw the return of Ashes To Ashes - the third and final series - and yesterday saw the return of Doctor Who.

Suddenly weekend television is great again.

Given the media stir that both these programmes create surely TV executives everywhere must be able to interpret this as a clear vote for more quality drama on our televisions and less of the (comparatively cheaper to make which is why so much of it is made) reality TV tosh that infects UK programming schedules like slugs around a lettuce bed?

Hmm.

But back to the plot: the first instalment of Ashes To Ashes was shockingly dark. The actual crime story of the episode almost took second place to the black undercurrents of trouble occurring within the police team that Alex Drake finds herself trapped within. The apparently unassailable Gene Hunt suddenly finds himself confronted with a sly nemesis in the shape of Discipline and Complaints officer, DCI Jim Keats - a strange mix of East End wide boy and geeky university post-grad. A cocktail that is never going to appeal to the Gene Genie. And there is nothing poetic about Keats. He is wheedling, he is smarmy, he is two-faced. He is courting Alex Drake - albeit only professionally at the moment - but has already voiced his hatred of Hunt to the great man's face. There was a lovely TV moment when, caught within the glass of Hunt's closing office door, Keats's reflections passed across the image of Hunt like a glowering cloud. Matter and antimatter. Dark and light.

There are uncomfortable secrets about to be revealed. Keats promises to reveal the truth about Hunt... and by extension, the truth about Drake's predicament in this 1980's world. And I suspect it's going to be nasty.

I have to be honest and say that Keeley Hawes could be dressed as a tramp and I'd still watch her but Alex Drake is a fabulous creation and is actually a better foil for Hunt's blustering machismo than Sam Tyler ever could have been. In the end, Sam became one of the boys. This is something Alex Drake can never be. Certainly not with those amazing legs anyway...

...and talking of legs, Karen Gillan made a rather long legged splash onto our TV screens as Doctor Who's new companion. Dressed as a policewoman kissogram with legs longer than the double doors of the Tardis (but, I suspect, leading to a box far more exciting - sorry, couldn't resist; am high on chocolate this Easter morning) Amy Pond established herself within the Doctor Who world with serious redheaded aplomb. In a single episode Steven Moffat has again proved himself to me to be one of this country's finest screenwriters. This first episode crackled with tension, humour, in-jokes, Whovian references and technological cleverness. Unlike R.T. Davies who, God bless him, knows drama from a soapy / emotional standpoint, Moffat understands science and technology. He understands time as well as people. Without blowing too much of the plot for those of you who are still to see it, he establishes a truly emotive link between Amy Pond and the new doctor with ease and without it feeling too clunky or contrived. This is what I like most about Moffat's writing. Nothing is wasted. Nothing is throw-away. Everything is well used.

And what of the new Doctor?

*Nods* Yeah.

I give him - Matt Smith - a thumbs up. I'd seen a couple of interviews with him and found him curiously "not quite likeable" but having watched last night's episode I can't knock his acting skills. Tennant is a hard act to follow but Smith has done it. He has the energy of Tennant's old doctor but also brings something more to it. An Englishness. An eccentricity that appears to be genuine and is, I suspect, as much a part of Smith's true real-life make-up as that of the character he plays. By the end of the episode I had accepted him fully as the Doctor. He had stamped his Gallifreyan DNA indelibly all over the role.

So. A victory for Moffat, Smith and Gillan.

A victory in fact for the BBC.

A proud morning to be British. Happy Easter everyone.

Water

The foyer in the building where I work has, as its centrepiece, a water feature. A huge brown stone monolith of odd angles and aesthetically engineered drops that guarantee a playful background plash of water whenever a visitor drops in to spend a week’s wages on a cup of tea in the café.

Or at least is does when the bloody thing is working.

Unfortunately it hasn’t worked for about a year. It was turned off last winter due to suspicions of “a small leak”.

I guess this is an occupational hazard for a water feature. That and people lobbing pound coins down the plughole or going for a number 2 down the chute.

For various reasons it wasn’t looked into. It got overlooked. The water feature became a dusty dry stone sculpture that only dreamt of the cool flow of legionella rich water gently caressing its chiselled corners.

Until this week. The idea of restoring water to the “desert” feature suddenly became “of the moment”. It became my task for the week. My pre-Christmas mission.

Experts were called in and assembled. Opinions were voiced. An agreement was reached. Existence of the leak needed to be empirically proven or disproven one way of the other.

So an experiment was launched. The water was switched back on. The algae on the stone was moistened with H20 once more.

Like all water features, ours works by recycling the same water round and round. The continual movement prevents stagnation and bacterial build-up. A simple ball-cock mechanism adds fresh mains water whenever necessary to compensate water lost by evaporation or hoodies taking a rare bath. Yesterday, once the system was up and running, we disabled the ball-cock. With no fresh water topping up the system we’d soon be able to see if we were losing any.

We started at 3pm and my brief was to switch the thing off at 5pm when I went home and then back on again tomorrow morning at 9.

At the most we were expecting maybe an inch of water to disappear.

Instead, at 5pm I was gobsmacked to discover that not only was the water feature dry but the entire reservoir tank was also empty. The pump was gamely sucking up hot air.

Where had all that water gone? Several gallons of it had vanished down into the guts of the building in the space of 2 hours without any evidence of it ever having been there.

We have a mystery on our hands.

Further investigations will take place today. I daresay some dull, prosaic explanation will be found. Personally I’d like to imagine that the water has escaped into another dimension, possibly feeding a waterfall in Narnia or topping up a jacuzzi for a couple of half naked elf maidens.

Or perhaps, like a recent episode of Doctor Who, the water has taken on a sinister life of its own and is, even as I write, seeking out some poor unwitting human host whose body can be possessed and turned to some dastardly scheme of world domination. Indeed, it may explain the congregation of strange gentlemen who daily hang around the front of my work building, foaming at the nose with various sized cans of Special Brew growing out of their bottom lips and who have an undissuadable penchant for defecating up the pilasters.

It’s something in the water, I’m telling you...

On Fire

+++ APOLOGIES +++ MINORITY INTEREST POST +++

So. Torchwood.

The Doctor Who spin-off returned for a third outing last week in a lavish new 5 part story that was broadcast every day, Monday through to Friday.

I was, I admit, dubious.

Series one and two of Torchwood were disappointing. Like a chocolate cake that just wasn’t quite chocolaty enough (the diet coke of sci-fi). Good ideas were there – but were spread to thin. The acting was good but the scripts were frequently weak. The stories built up nicely and then were abruptly deflated as Russell T Davies pulled yet another lame solution out of an all too convenient hat.

Deus ex machina done as cliché.

It was too lightweight. Which was a shame as Torchwood had promised much in the early days. Something meaty. Something more adult than the family oriented Doctor Who… but it seemed to fall at the second fence.

In various interviews writer Russell T has admitted he had neither the time nor the ideas to fully realize series two. It showed. The series was patchy and frustrating. So often nearly there… but never quite.

And here they were for series 3 – promoted to BBC1 no less. Somebody high up at the Beeb obviously had faith in them.

In my opinion that faith was at last validated.

Torchwood: Children Of Earth was as close to a sci-fi masterpiece as I’ve seen on terrestrial telly for a long time. Fantastic script, a plot that set the nerves jangling and disturbed the emotions and a proper gut wrenching finale that, while inevitable, left you gasping. It was harsh. Very harsh. But a good harsh.

I’m not going to spoil the plot for those of you who haven’t yet seen it yet (I’m aware that Torchwood makes it out to the US and NZ among other places) but the storyline dealt with some very difficult subject matter. Parenthood, our children and our desire (and our failure) to protect them. Self serving politicians. Child abuse. The rich / poor class divide. Bigotry… and for once Russell T didn’t pull his punches. He followed the dark path to it’s horrible conclusion rather than bottling out at the eleventh hour. It wasn’t pretty.

But it was truthful.

One particular scene where UK politicians decide the grisly fate of millions of children reminded me of the meeting the Nazi’s had to formulate their “final solution”. An entirely deliberate reference point, I’m sure, and of course it added a ring of truth to the entire premise: such a meeting taking place wouldn’t be that outlandish. It’s happened before. In living memory. Civilization is a very thin veneer plastered over a bubbling magma of waiting anarchy.

And as history shows it doesn’t take a lot to puncture the crust.

It made for uncomfortable viewing. Maybe having children myself over-sensitized me? But the idea of the state not just interfering with my children but claiming ownership of them for its own ends really upset me. Again Russell T was tapping into very real, very relevent fears – how much personal autonomy can anyone really have in a nanny state that is always looking over our shoulders for our own good? Who does the family unit really belong to? How far would you go to protect your kids? What if following the parental instinct to protect your kids at all costs became treasonous?

Dark, dark ideas. Which is exactly what I want from sci-fi. It should be far fetched, futuristic, in turns utopic and dystopic. But most of all it should be relevent to the here and now.

It is interesting to note that John Barrowman (Captain Jack Harkness) was not at all enamoured of the decision to reduce Torchwood to a single five-parter. He’s been very public in announcing his displeasure, feeling that the show has been punished in some way, deliberately constrained.

Well I can recall a tutor of mine telling me that true creativity comes out of constraint, out of limitation. It is a good thing. It should be embraced.

I think Torchwood series three is the proof of the pudding. Rather than a run-of-the-mill 12 part series that misses as much as it hits, we had An Event. We had something that has sadly disappeared with the advent of cable TV and iPlayers and “watch whenever you want to” telly. We had something that millions of people watched at the same time and talked about the next day in anticipation of the next part. It was a good move by the BBC. A clever move. It reminded me of the time in the mid eighties when ITV lost the rights to broadcast the Olympics and so instead bought a US mini series called “V”. It was a ratings success. Everybody sick of the wall-to-wall Olympic coverage on the BBC tuned in to it. Everybody tuned in together. It became an event.

I don’t know where Torchwood will go after this. My hope is that we will see more five parters like this. I’d rather see five lavish, top notch, intelligent, adult episodes per year than a 12 episode series that constantly flounders beneath its own padding.

Last week Torchwood finally delivered.

First class.

I’d like to place another order please.

400

What a momentous day this is. Ripe with glory and grandeur!

Forget Barrack Obama’s inauguration as the 44th President of the United States of America.

Forget the news that this is the first Official day of the UK recession.

This, ladies and gentlemen, is my 400th blog post.

Yes. That’s right. 400!

Since this blog’s inception in late 2006 I have continuously and without mercy produced 400 blog posts of varying length and dubious quality, luxuriously peppered them with photographs slyly half-inched from the World Wide Web, and thrown them to you, the blog reading masses, as if they were high class crumbs from my overflowing banqueting table.

Such food for though has passed before your poor fatigued eyes! Subjects such as Nigella Lawson, politics, television, celebrity culture, music, Keeley Hawes, parenthood, Lego, work and even how to wash up a tea mug have all been righteously laid before you like the tenets of a new religion.

And how you have gorged yourselves, you lucky people!

No, no, please don’t bow or scrape, there really is no need.

But it has not all been bouquets and banners! Oh no! There were some – you know who you are – who thought this blog would never amount to anything. Thought it would die, bawling and howling in its infancy, a shrivelled negatively potentialled hybrid of overweening ambition and undergrasping ability. You thought I’d get bored within the first 6 months. You thought I’d get sidetracked by the flash-bang-wallop of hardcore internet porn and the gaudy lure of online Poker. You thought I’d be discovered by the Head of Writing at the BBC who would snap me up like the last green triangle in a tin of Quality Street and beg me, dry-humping my leg as the tears roll down his face, to co-write the next series of Doctor Who and officiate over the next batch of period dramas primed to emerge from the pen of Andrew Davies.... no, no, Steve, you must give up this blog writing malarkey immediately, Hollywood beckons for one such as you, don’t cast your pearls before swine, your seed onto barren ground (you must leave the internet porn alone)... you must step up to the plate, dear boy, scripts must be written, book deals signed, an e-book autobiography with Flash and interactive content must be penned (keyboarded)...

But I said “nay!” And lo I sayeth “nay!” again.

I am going nowhere. This blog shall not be moved. This blog shall stayeth forever. Yay e’en unto perpetuity and the electronic eternity (server functionality excepted). Have no fear that I shall desert you, dear reader. I shall turn my back on all offers of wealth, stardom, critical acclaim and cheap easy sex with breast heavy celebrities who present property shows on Channel 4. I shall keep the Bloggertropolis standard held aloft and rippling in the breeze and my mind purely on the blogging tasks at hand for now and for ever more.

No need to thank me. This is simply what I do. Be confident and assured. Rest easy, dear reader.

I am going nowhere.

Absolutely. Effing. Nowhere.

Go To Hell

ITV do bad sci-fi.

This wasn't always the case. I have very fond memories of Sapphire & Steel as a kid but I'll be the first to admit that my powers of discernment were a little erratic when I was 10 years old (I also rated Chorlton & The Wheelies among my favourite shows).

But in later years ITV has consistently failed to produce / buy-in a decent sci-fi show. God knows they've tried. For example, in recent years we've had the God-awful Primeval. That show tried so hard to attain the level of "sci-fi cool" it was too painful to watch.

And now - broadcasting for the first time last night - we have Demons.

I'm sad to say that it suffers from the same malaise as Primeval. Stilted, amateurish scripts, transparent plotlines, sketchy characterization and a too heavy reliance on CGI effects and rubber latex (as in face make-up rather than anything kinky in the bedroom - alas).

It's a pity. It has some winning ingredients: Philip Glenister; that sexy doc girlie from Survivors (Zoe Tapper). And, er, that's about it.

But really that should be enough. Glenister is just cool per se. He holds the screen like a Hadron Collider magnet. And Tapper just oozes a rampant snoggability that promises to set the screen alight.

So why doesn't it work?

It doesn't work because the writer's at ITV are plainly clueless in the art of using an asset to its full potential. They lumber Glenister with a "rilly stoopid" American accent. Glenister is a fine actor but he ain't no Chicago street punk. And for some reason they've decided that Tapper's character should be blind - which means most of her dark, smouldering looks are directed at various inanimate objects such as vases, pillars and Ikea bookcases. What an effing waste!

But worse still is the sad, creatively bankrupt adherence to a sci-fi formula that ITV have yet to realize doesn't work: young pretty boy in the male lead and young pretty girl as his counterpart (and "will-they-won't-they" love interest). The trouble with pretty young-things (especially when they're virtually unknown) is that it is damned hard to care a gold-plated fart about them. I spent much of the show hoping they'd both get dragged down to Hell and demoned up like Pinhead from Hellraiser.

Alas it was not to be.

The entire episode felt like it was a first draft (or an idea from one of those annoyingly funny Orange cinema adverts)... It was clumsy. It was cynical. It just doesn't work.

The BBC are far more subtle in their approach to sci-fi drama. Whatever misgivings one may have about Doctor Who or Torchwood I have to admit that they're casting has been consistently good and they're not afraid to cast against type and allow actors to surprise us with their range. ITV, however, consistently play it safe and what we get is a wishy-washy, story-by-numbers, spooky horror story that is kid friendly but hopelessly mediocre if you're an adult.

And as for the demons... geez, they're not scary at all. They're grotesque, yes, but in a comical Carnivalesque sense. There's no sense of unholiness or otherworldliness about them. I like my demons to be genuinely unsettling - think Clive Barker or Aleister Crowley. Not people daubed in weird latex and plastic that appears to have been transported through time from the 1970's.

Which brings me back to Sapphire & Steel.

Was it really any good? Or have ITV always sucked at sci-fi?

Girl Done Good

She’s suffered some stick our Catherine has.

In the lead up to the current series of Doctor Who poor Ms Tate’s name was dragged through the mud, trampled on and urinated over worse than one of East End Gran’s hand crocheted blankets.

And I have to raise a beautifully manicured hand and say that I too was guilty of unwarranted and heinous crimes against the red headed one.

To be fair though most of us were basing our opinions on the Doctor Who Christmas Special where Catherine’s character, Donna Noble, first made her televisual appearance. It was horrific. Donna Noble was brash, screechy, snotty and LOUD. Very loud.

But you know what? None of that was her fault. I blame the script writers. It was their fault. Shoot ‘em, I say.

Because suddenly with decent scripts, decent character development and an all round softening of her character traits, Donna Noble has transformed into the saviour of the show. I honestly feel that she’s the best thing to have happened to Doctor Who (“the new generation”) since Billie Piper started wearing lower cut tops in series 2 – or did I fantasize that?

And for that I credit the script writers. Allow them to regenerate, I say (with the possible exception of Russell T Davis).

Donna Noble is a mature, self confident woman as opposed to a flighty, easily impressed twenty-something and that fact alone has injected the show with something more solid and weightily resonant than a mere lovelorn travelling companion. As pleasant as Rose Tyler and Martha Jones were their moo-cow eyes began to grate on my nerves very quickly.

Donna Noble might be in awe of the Doctor but she doesn’t think he’s perfect. Not at all. She’s aware that he’s fallible. That he needs someone to rein him in, to hold him back. To question his motives. This creates a much more equally balanced relationship. The balance of power is as close to 50 / 50 as it’s ever been. There’s 2 way respect on the Tardis and that is always going to be far healthier than the alternative: a companion constantly falling into an admiring swoon while the Doctor looks on patronizingly... aah, good human, you’re so cute!

Donna ain’t cute and I like her all the more for it. She’s intelligent and doesn’t have to be led. She can jump to her own conclusions and work things out for herself. She can contribute intellectually and meaningfully. She can challenge. And my God does Tennant’s Doctor need that. He’s a great bloke and a great Doctor but he’s needed someone strong to restrain him for a long time. Tate is at last providing that strength.

And as TimeWarden has already pointed out, Tate also provides a vulnerability that is based on a sensitive assessment of any given situation rather than a mawkish, girlish response. She’s morally sussed. Intelligence and worldly experience are definitely the keys to her character’s success.

The other bonus of course is that without the soap opera storyline of unrequited love constantly getting in the way the show can concentrate on what we, the viewers, really want to see: decent, well thought out sci-fi.

Hoo-bloody-ray I say. Saturday night’s are halfway decent again.

All they need to do now is get the costume department to lower her tops...

Joke.

Cough Drop

I’m having a weird day today, probably aided and abetted by the fact I had a crap night’s sleep last night...

Baby Tom was fine, I can’t blame him at all – the sleep training has really paid off and any night time disturbance now tends to be very minimal. Instead, despite having eyes as heavy as John Prescott’s sick bag, I just lay awake into the small hours, wearing myself out with my many fruitless attempts to drop off.

The knock-on effect today is that I feel out of kilter with the rest of the world and totally benumbed. I feel like a cheap pair of 3D glasses – things aren’t quite lining up properly but I can still tell what they’re supposed to be.

If I was at home I could cope with that quite well. But I’m not. I’m at work and am required to be “on the ball” and capable.

None of which is actually in my job description but I feel too drippy to point that out.

So I’ve had a painful morning dealing with complaints of sexual harassment levelled against our cleaner (sorry, Hygiene Technician), meeting a lighting rep who has totally exhausted my fake interest in light bulbs, dichroics and barn-door shutters, running around trying to catch up on the paperwork that has been flapping around my desk since my day off on Friday and I have just shambled through the most bizarre office conversation ever which started off on the subject of new local authority gumf warning us about the dangers of the “employee terrorist” (the office bully by any other name), leapt onto the John Prescott bulimia bandwagon about halfway through and then finished off on the delightful subject of condensed milk sandwiches as eaten by Lenny Henry on Tiswas back in the early eighties.

My brain feels warped.

I feel like I’ve just coughed it out of my mouth like a dropped bollock in a fashion rather reminiscent of the Ood on Doctor Who on Saturday.

None of which bodes well for the afternoon...

Oh Lurcio!

I feel somewhat ambivalent about last night's episode of Doctor Who.

The Pyrovile rock monsters looked like rejects from the Transformers movie (maybe they thought the Tardis was the Allspark cube?) and sounded like a dodgy haemarroid cream. I also felt that Phil Davis - a terrific actor - was rather wasted as Lucius Petrus Dextrus (what, he can carry Chihuahuas in both hands?).

The 'limbs turning to stone' thing was rather ridiculous too. Phil Davis spent much of the episode running around like a vandalized one armed bandit. I was constantly waiting for the Doctor to score three cherries (but alas the Syballine Oracles weren't at all interested in his sonic screwdriver).

And yet the story overall did pack quite a bit of emotional punch. The history of Pompeii is well documented but still manages to move (unless you're as hard hearted as the Pyrovile of course) and the writers capitalized on this resonance by wisely focusing our attention on a select few of the town's inhabitants - making the sense of tragedy personal rather than general. The scene where Donna tries to rescue a small child from the panic before it is snatched away by its mother was superb. Very simple but it hit the target big time and Catherine Tate proved beyond all doubt that she is a superb actress in the harrowing scenes that followed.

I also liked the fact that Donna is acting as a "moral earth" to Tennant's Doctor - grounding him a little in the minutiae of existence rather than merely seeing the universe as a massive binary tapestry of what is and what is not meant to be. Their relationship is set to be far more rewarding for us viewers than the Doctor's previous travels with the lovelorn Martha Jones.

If only Donna could lose some of her Essex girl attitude when under life threatening stress... it is a little off putting to have her shout things like, "'Ere babe, no, leave it aht, wot you fink you're doin'?" etc when the proverbial is about to hit the fan. OK, I'm exaggerating a bit but I was half expecting her to whip out a white hand bag and pointy stilettos from beneath her amply bosomed toga.

The rine in Spine falls menly on the pline, anyone?