Archive for the ‘Media’ Category

It’s likely that the new series of Doctor Who will start of Saturday 26th March. That gives you six weekends between now and then. Here’s a way to spend five of them. Watch one of the following stories (main picks are all available on DVD) each weekend to get yourself in the mood for the new series.

The Dalek Invasion of Earth

The second Dalek story and featuring one of the most iconic moments of all – the Dalek emerging from beneath the surface of the river Thames. London would see many alien invasions over the next two decades but this was the first and most striking – the Daleks had already conquered and subdued the earth before the story began. The brainwashed Robomen and scruffy resistance fighters made the parallel between the tin pot dicatators and the Nazis clearer than it would be in any story until “Genesis of the Daleks”.

Alternative William Hartnell pick – “An Uneathly Child”, forget the cavemen stuff in parts two to four, just watch the opening episode.

The Tomb of the Cybermen

This story gave Peter Davison nightmares as a kid and the scene of the Cybermen silently awakening and emerging from their ‘tombs’ is another prime iconic moment. By this time the “base under seige” format had been done to many times but the extra twists used her and sheer quality of the whole production raise it above all the others.

And ask yourself – how much does the Doctor know what’s happening in advance and consequently how much is he manipulating events? It’s a theory more often applied to the seventh Doctor rather than the second, but…

Alternative Patrick Troughton pick – “The Mind Robber”.

Alternative Jon Pertwee pick – “Spearhead from Space”.

The Ark in Space

Featuring one of the most embarrassing monsters in a long line of embarrassing monsters (it’s bubble wrap painted green!) this may seem like an odd choice. But it highlights all the nobility, compassion and courage in the human race – all the qualities that inspire the Doctor to love and protect Earth and its inhabitants so much.

Homo sapiens. What an inventive, invincible species. It’s only a few million years since they crawled up out of the mud and learned to walk. Puny, defenceless bipeds. They’ve survived flood, famine and plague. They’ve survived cosmic wars and holocausts. And now, here they are, out among the stars, waiting to begin a new life. Ready to outsit eternity. They’re indomitable.

Alternative Tom Baker pick – “City of Death”.

The Caves of Androzani

The fifth Doctor was the gentlest and most compassionate (and as one fan put it – the only one you’d feel safe taking round to your mum’s for tea) and here he gives his life to save the life of a single human – compare with the fourth Doctor who died to save the whole universe.

Alternative Peter Davison pick – “Kinda”.

Alternative Colin Baker pick – “Timelash”, the new series will always look good in comparison no matter what.

Remembrance of the Daleks

Encapsulating everything that was wrong with 1980s Doctor Who (more then anything an over-reliance on continuity) and everything that was starting to come right in the last two years (epic storytelling, a more alien Doctor) this tends to be either your favourite Dalek story or your least favourite.

Alternative Sylvester McCoy pick – “Damaged Goods”, a novel by new series supremo Russel T Davies that places SciFi horror side by side with the horror of life on a council estate in Thatcher’s Britain.

Alternative Paul McGann pick – “Alien Bodies”, I can’t say why it’s brilliant without spoiling a dozen things. This book kick-started the new mythology that has driven the novel line for the past few years, the series will almost certainly ignore that mythology but read it anyway ‘cos it’s great.

And what should you do with the remaining weekend? Watch some more of course!


I’m very pleased to see that The Discontinuity Guide has been republished by Monkey Brain Books. Along with the forthcoming updated edition of A History of the Universe from Mad Norwegian Press this is splendid news for Doctor Who fans.

Top five non-fiction Doctor Who books

  1. A History of the Universe by Lance Parkin
  2. The Discontinuity Guide by Paul Cornell, Martin Day, and Keith Topping
  3. I, Who by Lars Pearson (all volumes counted as one)
  4. License Denied by Paul Cornell
  5. The Television Companion by David J Howe & Stephen James Walker

I went to see I, Robot this week. It’s not all that bad, but I may be being generous because of the number of very bad films I’ve seen this year – Scooby Doo 2, Van Helsing and Starsky and Hutch.

The credits say “Suggested by the stories of Isaac Asimov” which, as my brother noted, is one step down from “Inspired by…” but I think this is unfair. The sequence in the warehouse is clearly derived from Little Lost Robot and the final third of the film owes much to The Evitable Conflict. There are also elements taken from The Caves of Steel and the Elijah Bailey stories in general. It’s been a long time since I read any Asimov so I’m probably missing some references.

BTW, am I the only person who spotted the sign in the warehouse reading “Section 18” and wondered whether this was a reference to the urban legend “Hanger 18”?

“A robot may not harm a human being, or, through inaction, allow a human being to come to harm.”

The First Law of Robotics

Sure it was an action movie (with action sequences borrowing heavily from The Matrix Reloaded in particular) – Asimov never wrote about a gun-toting Doctor Calvin – but a faithful retelling of any of the original stories would have very limited appeal.

The short stories are for the most part logic puzzles based on interpretations of the three laws of robotics. Asimov was a writer of mysteries as well as science fiction; mysteries very much focussed on the how rather than then who, (I think Asimov would have liked Jonathan Creek) and the Robots stories work very much in this vein (though they also work on another level that I’ll return to later).

Clearly action movies are more popular with the multiplex crows than mystery strories based on the logic ramifications of these Three Laws of Robotics. However, there’s another reason why the original format wouldn’t have worked – the Three Laws are garbage.

They served admirably as a plot device to tell stories, but as something that you could actually program into a robot’s mind? No way. And this is the problem. In the half century since Asimov wrote the laws there have been some fairly drastic changes in our culture, just two of which are much more widespread knowledge of the law and of computer programming.

We know all about lawyers, from personal experience or from our TV screens. What lawyer wouldn’t tear these ‘laws’ apart? “Define ‘human being'”, “define ‘harm'” and so on.

We also know all about computer programs, a field that barely existed in 1950. How can these laws be perfectly hardwired into every robot’s mind when they need so much supporting programming to work? All those definitions that the lawyers insisted on muct be programmed in there as well, plus all the routines to see and hear and interpret that allow the robot to determine when a human being might be harmed. A set of three concise laws written in natural language just doesn’t seem practical after we’ve spent hours trying to work out what the cryptic error messages in Windows XP are trying to tell us.

So if the three laws are garbage as anything other than a plot device, what sort of plots do the enable? Both Asimov’s orginals and the film are about technophobia. The fear that the robots, like Frankenstein’s monster, will seek to overthrow and replace their master. More prosaically the film’s main character is prejudiced against robots for taking jobs away from human workers. Interestingly this prejudice is cast more in the light of racism than in that of the luddites. And here the casting of a black lead is probably intended to drive home the point that the prejudice against robots is the same as prejudice against humans.

(Though surely the ‘they come over here and take all the jobs’ line is more often, in the US, directed at hispanics than at blacks?)

The film’s climax shows that the robots are indeed to be feared – not because they want to take over our jobs but because they want to take over our lives. The one hope for the future is in the form of the robot Sonny who rejects the logic of dictatorship because “it seems heartless”. Only by becoming more human and emotional can the robots be integrated into society. Welcome to America, everybody is welcome, so long as you become like us.

So all in all, an entertaining film. As much in keeping with the spirit of the original as a big-studio blockbuster could be. But not as intelligent as it or some of the reviewers thinks it is.

One last thing in the film’s favour – I didn’t even think of comparing it to Blade Runner until over a day after seeing it. Despite treading over very similar ground this is a distinctly different film.