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future-critical-blog · 4 years

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How Pacing Fucked Steven Universe

Note: this is anonymous because I know what will happen!

Steven Universe is without a doubt one of the best shows I've ever seen. It's certainly the best cartoon series I've ever watched. The first four series, and a large amount of the fifth, are truly wonderful.

So, I'm going to be entitled and complain about the last little bit that didn't work for me. I got all those hundreds of episodes, and I’m just going to take a moment to really honk about the stuff I don't like.

Because we live in an age where Nazis are back, feminists think trans woman are the biggest threat they face and the world is burning - at this point, a bit of a moan about Steven Universe/Future will get lost I think.

Bear in mind: this comes from a place of love. I care about Steven and the characters because they took me on an amazing journey that really had an emotional impact on me. Then they tripped me right at the end, and now they're fuck-twaddling around taking up space in my brain that should be used for thinking about how great the show is.

This is about how the inability to wrap Steven Universe properly sucks and undermines all the amazing work the creators put into it. Now, that work hasn't gone anywhere: I can, and will, re-watch the series to reminisce about it. About what could have happened. Nobody has taken that away from me.

But still, there's nothing worse than a story that buggers up the ending. Worse yet, that ending is still going in Steven Universe: Future.

So what's the problem? Let's start.

Pacing, pathos and atmosphere

Things used to be teased, hinted and slowly revealed. Steven Universe used to a slow-burn that really built things up with the even-hand of a masterful storyteller. Remember that long shot at the end of 'On the Road', after the characters leave? We see just the empty, sinister kindergarten whilst a discordant note builds in the background before... bang, credits. It builds atmosphere and tension.

What happened to that? Slowly building a feeling, weaving a narrative, and taking us on an emotional journey? We got a very rushed pay-off to all this with Series 5. The crew thought the show wouldn't be renewed, so they made the executive decision to wrap it all up.

· Everyone’s fixed now. Pearl, Garnet, Amethyst, Steven.

· Diamonds are friendly now. Blue got sad, Yellow got angry and White got… put in her place by a comeback?

· The bubbled gems/corrupted monsters are all fixed.

· The Off-Colours and Lars just got home. No further adventures, they just got home.

Bits got missed out. Things got rushed. Homeworld, the Diamonds and five series of build-up got dealt with in the space of 40 minutes. For comparison, just Series 1 alone was 8 hours long.

Yeah, the network created that situation. You're cancelled! They seemed to say. No you're not! HA! They continued. But it still sucks, narratively, and the creators are now compounding that problem by trying to go back and add in the bits they missed.

Worse, there's no pacing now because there’s no more overall story. No atmosphere. Fundamentally, post Change Your Mind, everything is done. The series was wrapped up. All we have left now is some loose-ends and Steven being moody.

It came back mostly just to tie up random ends. But more of something isn't always good: Series 1-4 and about half of Series 5 are amazing. We shouldn't clap and applaud we get more just because it's more for its own sake, we should cheer things for being good in their own right.

I don't just want more meep morp, I want the morp to have something to say and to mean something. Victory laps and adding unnecessary lore is pointless: characters and emotion are what drive stories.

This isn't about 'filler' episodes as such, nor is it about breaks and hiatuses. It's about spreading the story arc (and the individual elements within that arc) correctly over the allotted time. A story that takes 700 pages to set up, only to be resolved in 3 pages feels badly unbalanced - I'm looking at you, Stephen King. And that's exactly the problem Steven Universe has. The set-up is incredible, and the payoff is badly disappointing. That's pacing.

Being the Underdog

This was covered nicely, if ironically in hindsight, with the episode ‘Historical Friction’. The play about olde-time mayor William Dewey was utterly uninteresting until Pearl rewrote the play’s script to make him an underdog. This is part of pacing. It's dull to watch a winner win constantly. The characters need to be in situations where they're facing actual threats, otherwise we're just watching a series of foregone conclusions unfold.

What would Lord of the Rings look like if the Hobbits just marched from The Shire to Orodruin, with no setbacks or problems, and then just lobbed the One Ring into the fire? What's the point of the story? It'd be like a grand-scale version of watching someone go out for groceries. Nobody wants to watch that, not really: you can go to the supermarket and see it if you’re that interested!

This couples with suspension of disbelief. Usually, the good guys win. We know they're going to win. We need to be able to suspend our disbelief, and that's something that the pacing and storytelling need to enable. We need to be able to get caught in the story, even though we know everything will probably work out by the end.

When you get it just right, even the creators don’t know for sure everything will be alright. Remember when Picard was assimilated by The Borg? Even the writers weren’t 100% sure how it would play out, because Patrick Stewart was playing hardball with the studio at the time over his contract. There was a chance this could have been the end of his character.

But Steven isn't an underdog anymore. He's a bossy, self-important grump with a martyr complex. He wins all the time, not least of all because of the pacing problems. By this point:

· Steven has healing powers that can literally bring people back to life

· He has all the powers of a Diamond

· He has the backing of the three other diamonds

· He now has an army of friends who will fight at his side

So where is the story to tell? Consider, in Steven Universe: The Movie, Greg's arm gets hurt by the injector. There's no danger, no worry. We know Steven has healing powers. So why bother showing it? It's about as relevant or interesting as watching Greg brush his hair.

There’s no danger. There’s no suspension of disbelief because the hero is now so super-powered.

This is even worse when coupled with the uneven pacing: when something takes so long to be painstakingly set up, only to be knocked down in a heartbeat, then why get invested in it? The 21st Century reboot of Doctor Who falls into this trap a lot: multipart episodes about a Dalek (or whatever) invasion… but luckily their Evil Machine has a ‘reverse’ switch that fixes everything. Dust hands, job done. All that build-up utterly squandered on an almost supernaturally fast resolution.

You Need a Story to Tell

The first five series have a definite story. It gets rushed, badly, come series 5 but there is still a story. That is done now: there's no grand, overarching tale now. We're very much into 'oh, what if...' territory.

What's the problem with that? Things get missed, because they don't need to fit into a cohesive whole. They just happen because they're cool.

Consider The Movie:

· Spinel goes from a cuddly, professional buddy to a would-be mass-murderer

· Spinel knows where to find a stupidly powerful injector

· She knows how to work it

· It is tuned to work to her 'trumpet' sound

· It is shaped like her gemstone

· She knows specifically where Earth is

· She knows how to fly a massive injector, with no obvious engines, to Earth

· This all happens in an afternoon

And the explanation we're given, after the event in a Q&A session? It's because Spinel and Pink Diamond were close. That is supposed to explain the entirety of those bullet points. It rankles me because it's not truthful. Those questions aren't answered by that, they're answered by 'because we thought it would be cool'. It's an unsatisfying explanation, but it's true and they’ve tried to handwave it into something else.

It's also what happens when you run out of proper story. Sure, you can still come up with little adventures but there's no big narrative anymore. There is no large picture for everything to fit into.

That’s dangerous territory. Not only does it lead to weird scenarios, but it also starts generating new lore at a maddening amount. The fans don't help this, it seems to me that some people purely watch Steven Universe to demand moar fusions, moar songs and moar lore. Even when that’s all they get, it’s not enough.

It's like demanding more swimming pools in your home because you're bored with foundations. Sooner or later the whole structure falls down because swimming pools can’t hold a house up. Neither can lore hold a story up: stories are about characters.

Similarly, the concept of 'fusion' relies on characters otherwise it's nothing more than the character dumps we used to get in toy-driven franchises back in the 80s. Songs have to have an emotional resonance otherwise they're just empty pop.

Remember the X-Files? How they got into a rut just generating series after series with no pay-off, but lots more wrinkles to an already convoluted story? Then it got to the end and... you can't end it. It's too sprawling, too stupid and too contradictory. That's where lore without a story takes you. Lore has to serve a vision, not the other way around.

Filler

Not filler the way it's come to mean to SU fans. I like the 'boardie' episodes - they're full of interesting characters and ground Steven's world in something resembling ours. No, I mean filler in terms of stories that don't mean anything: the characters don't learn anything, the world isn't made any more interesting. Things just happen in a self-contained bubble with no payoff or consequence.

In itself, that's fine. Some episodes are like that. If that were the only aspect to 'filler' episodes in SU, then who cares? The problem is the pacing. After glacial teasing, hinting and laying down groundwork... things get wrapped up so fast it'll make your head spin.

· The cluster? We talked it into staying bubbled.

· The Diamonds? They're fine now.

· Bismuth? Steven chatted to her.

· Lapis? She's sort-of fine, but not really.

· Spinel? Sent to live on a farm.

These are all things that took many, many lines of dialogue and building to create and were knocked down in the space of a couple of sentences.

This is where the 'filler' comes in. Instead of another story about Onion being weird, why not devote it to tying up the plot in a way that feels paced properly? Instead of answering questions about Watermelon Stevens, why not draw-out a little more the actual conclusion to a big story point?

Why do I think Onion and Watermelon Stevens should be singled out for Calvary? Simple: they have no explanation and don't matter. They don't matter to the day-to-day lives of the characters or the world. They serve no narrative purpose. They don't advance other characters' arcs. They don't ground the world they inhabit. They turn up, do 'stuff' in a little bubble and then go back into the toybox until the next Onion episode.

As a side note, I would lay a lot of money that Onion will never get any sort of pay-off. He doesn't age. He's deeply bizarre. He's apparently a wanted criminal. He's terrifying. And I don't think for an instant he will ever get a reason for being any of those things: he'll just carry on as a quirky in-joke and take up episode space because apparently that is a story-telling priority now.

Songs

Songs are sung when something is too important for the characters to just say it. The song needs an emotional resonance, to show what a character feels effectively. Contrast 'That Distant Shore' to 'Independent Together': one is about a deep longing and sadness for a home the character has never had. The other is a soft-rock ballad about how great stuff is when you can be your own self but also be with other people... or something.

See the resonance that the former has, and that the latter lacks? Whether you like Lapis or Steg, or the songs, is irrelevant to the story and the characters. One song has something to say, the other is there for the sake of giving fanservice. Independent Together isn't something so important to say that the characters feel they need to sing it.

This really kicks off around the middle of Series 5. Previously, songs were a special event. Now, they're commonplace. Even in Mr. Greg, a fully musical episode back in Series 3, the songs have so much emotion. Plus, Mr. Greg is an experiment: 11 minutes, mostly held together by 6 solid songs:

· Don't Cost Nothing: how much Greg and Steven just love one another.

· Empire City: how excited they are to go on a trip together

· Mr. Greg: Pearl almost lets her guard down, then realises and shuts down.

· It's Over Isn't It? : A heartbroken character sings for a life they never had.

· Both of You: A child shows the two adults they have something special in common.

· Don't Cost Nothing: reprised as a coda.

I won't pretend that all those songs have a huge emotional impact, but they do all serve part of the story arc. You can see it there: the status quo, the trigger, the choice, the quest, the showdown, the resolution and the new status quo. Couple that with the fact that at least 4 of those songs (counting Don't Cost Nothing and its reprise) do have a very real emotional punch, you've got a great episode.

All in 11 minutes.

That's the level of truly amazing, genius storytelling we're working with. Now contrast that to the 1hr 20m of Steven Universe The Movie:

· The Tale of Steven: A prelude to a re-cap song

· Once Upon a Time: a re-cap song

· Let Us Adore You: The Diamonds are emotionally disturbed and co-dependent! How adorable!

· Happily Ever After: The status quo. Also another bloody re-cap.

· Other Friends: The trigger! Not huge emotional resonance, but up-beat and plot-relevant.

· system/BOOT.PearlFinal(3): The quest.

· Who We Are: NICE. This one has emotional impact and says something important.

· Isn't It Love?: A Garnet re-cap. So at this point we're recapping what we re-capped when we recapped the re-cap. Lost yet?

· No Matter What: Again, NICE. Emotional relevance and says something about Amethyst and Steven.

· Disobedient: Kate Micucci hadn't been given anything to do yet?

· Independent Together: Aimee Mann brought a friend! Can he have a job and some dollarydoos?

· Drift Away: CHARACTER. PUNCH. PATHOS. It's here, folks. They can do it!

and so on.

See the pattern? For every one song that brings what we saw in Mr. Greg, there are at least four that are there just because. Because we thought it'd be cool. Because we needed more tunes to fill the runtime. Mr. Greg achieved more in 11 minutes than Steven Universe: The Movie achieved in over 80 minutes.

What's the reason? The Movie doesn't really have a story to tell. It's a victory lap. It's not bad: it's fine. Bits of it are simply excellent. But this is what happens when you stop having a big, cohesive narrative arc that you're trying to bring together.

Characters

Characters grow and evolve. Specifically, they have arcs. Just like the plot as a whole, and just like the subplots that compose it. Generally, the stages are:

· A status quo (Luke on Tattoine)

· A trigger (his Aunt and Uncle die)

· A critical choice (he leaves to become a Jedi)

· A quest (the adventure)

· A climax (the fight at the Death Star)

· A turnaround (the Death Star is destroyed!)

· A new status quo (the Rebels are ready to take on the next challenge)

SU gave most of its characters arcs broadly representative of this. The problem is, once those arcs were done the characters got put back in their boxes. They were 'fixed' and that was it. Amethyst's arc probably worked best: it spread over most of the first five series and felt like a real progression. Hence her fusion with Steven (Smokey Quartz) felt 'earnt'.

Pearl doesn't really grow or evolve much at all until Series 5. Ditto Garnet. Lapis is basically the same throughout the show: she broods, runs away and then comes back because of Steven's coaxing.

So, it’s back to my main drumbeat: its pacing is badly off. Some things take their good time and evolve naturally, others are wrapped up quickly and cast aside. Examples:

· Peridot worked to become friends with the CG. She had a character arc that took half a series.

· The Diamonds: it mostly turned on a sixpence in the 2nd half of Change Your Mind. Off-screen they then became annoying relatives, rather than murderous galactic tyrants.

Why does this matter? Well, most of the characters are now 'done'. Pearl is no longer co-dependent. Ruby and Sapphire know they're together (as Garnet) for love. Amethyst no longer hates herself. Peridot is a sweet (albeit socially clumsy) sidekick. Lapis is... well, the same as she's always been but seems happier with it now?

How do you tell more stories when your characters are already done? When the veg is cooked, you can't put it back on the hob because you've decided you want dinner prep to take longer.

SU keeps wrapping things up, believing they're 'done', then getting more time and needing to draw it out. This means either dawdling around with characters not going anywhere (which feels like either a smug victory lap or just something for its own sake) or actively unpicking their development.

Scrubs, in my view, is the poster child for the latter option: the show's cancelled, quick wrap up JD; Elliot; Dr. Cox; Carla; Turk etc! Oh no, we got another series! Undo the happily-ever-after so we can do more stuff!

That's why the pacing, particularly around characters and where they're going, matters.

Fusion

Fusion is the absolute biggest muddle of a metaphor. Is it friendship? Understanding? Sex? All? None? In any case, it used to be meaningful. Fusion meant something, even if that something would vary depending on the characters and the circumstance.

It took special effort to do: characters had to synchronise themselves through dance, to bring their thoughts together to fuse.

Now? It happens at the drop of a hat. No synching, no dancing. Fanwank it away any way you like: the characters are all 'fixed' now, they all trust each other, whatever. Fusion now doesn't mean anything because it takes no effort: pop here's Sunstone, pop here's Smokey, pop here's Opal. The fusions have just become like alter-egos that take no more effort than a quick-change in a phone booth.

And then there's Steg. Yeah, I get it: he represents the familial love between father and son. But why is he so built? Why does he look like some sort of sex-god? I'm a long way from a prude - it's just weird is all. A 16 year old boy + his middle aged father + the memory of the mother/wife shouldn't create a weird Adonis! But let me set that aside: the true problem with Steg is we had no build-up. Greg and Steven didn't talk about it, Steven just suggests fusing (through whispered dialogue we don't hear) and then it just happens.

Steg also isn't saved by being an interesting exploration of either Steven or Greg. He's fanservice. Fans wanted more fusions and more 'what if so-and-so fused!!' so they got it. He has 0 character. Just like Sunstone has no character beyond being an 'after school special'. Rainbow Quartz 2.0 has no character, aside from being chipper and cockney.

Contrast that to Smokey Quartz. Smokey is a delightful, self-deprecating scamp. She has a definite personality and stood up to a full interview with Sardonyx. Smokey has enough of a character that it would be possible for her to act out-of-character. What would out-of-character look like for Rainbow or Sunstone? Provided it was cartoon-English and early 90s cartoon dialogue (respectively) it could be anything.

What happened? Fusions used to be characters, they used to have personalities that couldn't be written down on a postage stamp in luggage marker.

The answer is the story ran-out. The characters are all fixed now - so there's no emotional or narrative drive for their relationships. Hence the concept of fusion is now just serving fans who want to see 'what if' combinations of characters.

Too Many Endings

I’ve touched on this already, but here it is again.

The problem with wrapping up a show is you put all the pieces away as well as you can, and implicitly make work for yourself if it is not the end. You've just set up a load of strawmen you need to kick over if you decide you've got more story to tell.

That's what happened here. Change Your Mind ended it. Except it didn't, so we went back and unpicked what we could. Even though everyone is basically fixed now and the characters have no real growth or underdog-fight. Then The Movie ended it. Except it didn't, so we went back and unpicked what we could. Even though everyone is still basically fixed.

Will Future be the end? Probably not.

That's why Steven is now a moody little jackass with a hero complex - we needed some conflict to drive what little plot there is, which exists only as a vehicle for tying up loose plot threads (Jasper!) we left out because of how rushed the first ending was.

It's a bit like when you misspell something, then you go back over it with your biro. But now it looks unclear. So you go over it a few more times to make sure it's clear. But now it looks like someone took a biro and leaked half the ink onto the page. The very act of trying to tidy it has made it less clear.

A Special Note About Garnet

This isn't about pacing, but whilst I'm on the moan I'll leave this here.

I feel wicked for this. Garnet is a brilliant character. I love Estelle: she brings Garnet so well to life. Any LGBT representation in a cartoon is rare and amazing, and we need more. But Garnet also sucks.

Why?

She's a metaphor. She's a metaphor for being gay and together in love. She is a symbol of a same-sex relationship. On a side-note: yes Gems don't have gender technically, but let’s not be wilful here: they have female-coded designs and the subtext is so obvious as to barely be subtext.

It's nearly 2020. We're now 20 years into the 21st Century. 2001 A Space Odyssey was set 20 years ago. First contact between Zephram Cochrane and the Vulcans is now only 43 years away. And we can still only talk about gay (or, God forbid, bi or transgender) characters in children’s' media through metaphor. I cannot emphasise enough how utterly shitty that is, and how glacial progress has been.

Now, that isn't SU's fault. However, what is SU fault is their clever (and I mean that genuinely) ploy to sneak a same-sex couple into the show means that we don't see them as a same-sex couple 95% of the time. They're hidden. Ruby and Sapphire's love and relationship literally lives under a disguise called Garnet.

And that sucks. It makes sense as a plan. It's great we have Garnet. Garnet is still amazing. But she also sucks, because she acts as invisibility for the lesbian couple she represents. Yeah, that’s some tough mental gymnastics to work that cognitive dissonance but I managed it.

My God, I Get It: You're a Cat Person

This is also nothing to do with pacing, it's just a creator conceit that bugs me. I freely admit it's also piddly and petty.

So: I'm not a cat person. And no, it's not because I haven't met your adorable little Tiddles or whatever. I don't hate cats, it’s just that most of the cats I've ever met are simply ghastly little shits. Their owners, through some mental blind spot; ancient Egyptian curse or brain parasite have become convinced that these hairball-gobbing, furniture-shredding, wildlife-destroying little cunts are angels. Somehow they've convinced themselves everything they do is adorable.

No amount of murdered birds or small mammals change their minds.

I've met, officially, two nice cats in my life and I treasure their memories. The rest can go to hell.

Why does this matter to SU? Cat Steven. Lion. Peridot and Amethyst doing little kitty-mouths when they're being cute. My God, crew, you love cats. I got the memo.

Why does that work me up? Well, do you know what I'd like instead? If a tiny amount of that 'cats are brilliant!' energy went into a proper wrap for Pumpkin. Created by Jessie Zuke and obviously a puppy metaphor... what happened to her? The crew don't care, because they won't tell us. If they cared even a jot it would have a story around it. Instead, we got some half-arsed bullshit from Joe Johnston about 'pumpkins don't last forever' and... scene. That's it.

But Cat Steven, OMG, yes we have to make sure to include him. Whenever we're at the Beach House. Especially if Garnet is there. Because... lesbians all love cats? Or something? Just... CATS. MOAR CATS.

Couldn't you show a little more respect for a character, albeit a not particularly important one, rather than worrying about how much airtime the various cats all get?

In Conclusion

It bears restating, this is mostly ire directed at Series 5 onwards. The other series are all still there, and I can watch them to reminisce. I can still enjoy some truly wonderful episodes of just about the best cartoon I've ever seen. This show is incredible... but the endings kinda suck. And that's down, mostly, to pacing. And how it kinda fucked Steven Universe.

#steven universe #steven universe future #steven universe the movie

1 note · View note

raywritesthings · 6 years

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It is interesting that you can write 10 so well considering the way you feel about him. I understand what you mean, I do, but I think there’s more going on there and 10 is my favorite in part because he has such a depth, hurt and real emotions to him, even that he hurts others (and he does). I can’t stand 12 see him as almost evil. SoI get it! I just wanna say you have mad skills to be able to write him despite your feelings. So please don’t take this the wrong way. I couldn’t write 12. No way!

Anonymous said:Whoops, I didn’t realize there was a bit of an argument going on when I sent that last comment. I was just replying to your post about shipping 10 and Donna but not liking 10 outside of series 4! Definitely didn’t mean to get into anything here... Sorry! You can just ignore me. Lol.

Haha, no it’s okay. I think the debate has blown over. And sorry if it seems like I was ignoring this; I was just celebrating my birthday yesterday and didn’t have time to get on my laptop to properly reply. And it’s probably gonna be long (sorry) so the rest of this is gonna go under a cut. Read more if you all wanna know some of my thoughts on Ten, otherwise feel free to skip.

Firstly, I want to thank you for the compliment. Regardless of how I feel about a particular character, when I sit down and write them I try to get into their head and into what they’re thinking and do it from their point of view. Now, I don’t always agree with what they think/feel/do in the story, but I present it as logically as I can.

My frustration with Ten specifically is that, while David Tennant put so much into the character and RTD clearly had certain character beats or threads he wanted to explore - they’re never really given their proper due in the narrative.

Like, there’s this idea there that he and Rose are too reckless/careless in series 2, a bit too arrogant and uncaring of how their actions impact others (we see it specifically with Mickey and Jackie), and that it leads to the creation of an organization bent on stopping the Doctor (even though Rose was the one ceaseless bugging Victoria, but I digress). Here’s the thing, though: the initial plan for Tooth and Claw was for them to accidentally get Queen Victoria killed, thus altering/damaging history. Real consequences, not just a single moment where we see Jackie sad in the Elton episode, or Rose admitting for one second that they take Mickey for granted right before we say bye to him in the parallel world (for the time being). But without that plot, a majority of the audience completely misses that idea. Series 2 is considered the “good times” for Ten, where everything was right and nothing bad had happened yet. Never mind that there was plenty wrong with him already.

“Don’t you think she looks tired?” With one bit of misogynistic language, he topples the government that was supposed to usher in a Golden Age according to his previous incarnation. Into the power vacuum steps the Master. There’s this repeating theme that the Tenth Doctor creates his own worst problems, but it’s never really crystallized in the narrative. Again, I read that RTD was planning to emphasize that, but never quite got around to it.

On the other hand, the narrative has no problem shifting blame off of him wherever possible. “Then what happens next is your own doing,” he tells the Racnoss Empress before pressing a button he knows will drown all of her children. “You make me this,” he says to Miss Hartigan before destroying her and the other Cybermen. It doesn’t exactly matter that they’re evil; he’s still blaming the victim of his actions for causing his actions in the first place, rather than taking ownership of them. And other characters do it for him, too! “Some things are worth getting your heart broken for.” “The Doctor is worth the monsters.” “He’s like fire.” Like it’s just a natural thing that he can’t help it if you get hurt, when there are absolutely things he could be doing to mitigate the damage he causes, he just doesn’t. And almost nobody holds him accountable, at least not successfully.

Almost nobody - enter Donna Noble.

Donna was the best thing to ever happen to the Tenth Doctor’s character. I’ll be honest with you, I got into the show a bit late. DT was already gone, so I went back to watch his stuff after watching most of the Matt Smith era (what had aired of it at the time). A friend had told me to skip Rose, so I started right in on the Runaway Bride. Then, because I didn’t want to wait for more Donna, I skipped right over series 3 and went straight into 4. And here’s the thing; I genuinely liked his Doctor. I was enjoying it. Imagine when I then went back for series 3 and got to see what an asshole he’d been for an entire series to Martha. And then peeked back at series 2 to see if it was a fluke only to discover even more I found distasteful.

It was like night and day! He’s quite simply a different character around Donna. That’s the only real way I can explain it. Part of it just has to do with the Runaway Bride. It is so important to their development as characters and as a relationship. Because they see each other at their absolute worst - and there’s no hiding that. There’s really no excuses for it. Donna knows exactly what he is capable of - and demands better. Won’t take no for an answer. And because he wants to impress her, wants her to like him, he delivers. That’s simply it. He cares about her opinion of him in a way that he didn’t care about what Martha thought. He wanted Martha around, but he felt he had free license to lash out and give her as much hell as he liked until she refused to take it anymore.

People like to say he’s grieving in series 3. Okay, I get it’s fine to have emotions and feel sad and miss someone. That doesn’t give him a pass to treat the people around him - people he invites into his life - like dirt. And yet, he’s largely left off the hook for that. Martha gets her goodbye speech, and Ten admits to Donna in Partners in Crime that what happened “was all my fault”, but by the Sontaran Stratagem notice how the narrative has shifted what that means. What happened is no longer “I made Martha feel unwelcome and like she didn’t matter as much as other people for an entire year (or two)” and is instead “I taught Martha how to fight and she became a soldier”. Because it’s no fun acknowledging that your main character - the through-line for most of RTD’s era - was kind of an abusive friend.

The Tenth Doctor to me is a Byronic Hero in the worst sense. Broodingly handsome and haunted by the things he’s done in the past, meant for girls to swoon over and tolerate how he treats them because he’s in pain. But Donna doesn’t give any of that nonsense the time of day, and that’s why he had to change so much in series 4. The few times he slips back into it, she’s there to pull him out or flat-out tell him “I think you’re wrong”. If he had grown out of that Byronic phase of his life, if the series 4 him had remained for the rest of his run, I might have found his character alright. There was an arc there, and he learned something and improved.

But instead, with Journey’s End, all the good is undone. He lobotomizes Donna. Full-stop. Sends Rose away with his clone and doesn’t tell anyone else what’s going to happen or that he’ll be alone, because he knows what’s best for all of them and this has to be the way. I think he likes being that tragic figure a little too much. He enjoys blaming all of his woes on inevitability and “the curse of the Time Lords”. It’s nice to have a scapegoat for all his wrongs. (Isn’t it so convenient, that Dalek Caan prophecy which declares the metacrisis “destiny”? Almost like it’s not the Doctor’s fault for leaving his hand lying around chock full of regeneration energy for anyone to touch. It simply had to happen, completely out of his control. It’s not his fault, isn’t that nice?) And then he’s killing Miss Hartigan like he did the Racnoss Empress, he’s turning down Christina because he’s meant to be alone~, he’s fighting time itself in Waters of Mars.

Sidenote, I hate the whole Time Lord Victorious title-y thing. You know why? Cause it lets the narrative push the blame again. It’s treated like this separate persona, what he ‘almost became’ - bullshit. That was the Tenth Doctor. He did those things. He spiraled out of control. The only reason he stopped was because a woman put a bullet in her head. He thinks the Ood is there to signal his death at the end and to be honest, I agreed with him. He deserved to die there.

When it came down to the Tenth Doctor’s actual final episode, RTD had to make a choice between a big, bombastic finale and a quieter, personal one. He went with the first option; had to send his hero out with a proper swan song, right? But the quiet finale I feel had much more potential to do something good to his character. Nobody watches the End of Time now for the plot - they watch it for those quiet scenes between him and Wilf, where he finally starts to admit his failings and owns up to them. It is beautifully tragic, and rightly so. The Tenth Doctor is a mass of contradiction and complexity, and I can absolutely respect people who find value in that and consider him their favorite character. My issue stems with the way the narrative chose not to properly interact with that complexity. I have an issue with characters who get off scot-free while others are held accountable in the same narrative. It bothers me. The hypocrisy in the writing there feels like an injustice. It also doesn’t help that I think any and all Byronic Heroes can go step off the nearest cliff and stop bothering women who would be much better off without them.

So I think if I tried to write him outside of that series 4 bubble (excepting some kind of post-Journey’s End fixit or, possibly, something to do with Sarah Jane because she’s about the only other character who made him likable to me), you would see a much harsher take on him. I would write as fairly as I write any character I dislike, but I would hold him accountable where the show did not. I don’t know if that counts as bashing or not. To me, it’s honesty.

I think the reason I’m much more receptive to Twelve than you are is because I feel he does learn and improve from his initial beginnings. I’ve never managed to finish series 8. Believe me, I get it, it’s sometimes painful to sit and watch how he treats the people around him in those early episodes. But, if you haven’t done it, I would recommend skipping ahead and giving series 10 a try. Because to me, that is the proof that he learned, in a way Ten was never allowed to because RTD was determined to have his “tragic hero” ending. Certainly Twelve is not perfect (no Doctor is), but I would take his interactions with Bill Potts over series 2, 3, and the Specials any day.

So, if you read this far, again thanks very much for the compliment and for giving me the opportunity to expand on my Ten thoughts. I hope I didn’t offend, as I know it’s no fun to read criticisms of a favorite character, and I hope I continue to write him well for you!

#emerson replies #emerson rants #Anonymous

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the-desolated-quill · 6 years

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The Time Of The Doctor - Doctor Who blog (So Long, And Thanks For All The Fish Fingers And Custard)

(SPOILER WARNING: The following is an in-depth critical analysis. If you haven’t seen this episode yet, you may want to before reading this review)

Remember way back when I reviewed The End Of Time Part 2, I said I was afraid that Russell T Davies may have set a precedent for overly sentimental, ridiculously OTT, and utterly self indulgent regenerations that are more about the showrunner than the Doctor? Well if you thought David Tennant’s Lord Of The Ring’s style farewell tour complete with stupid choir music and oh so poetic tears trickling down the cheeks was unbearable, you ain’t seen nothing yet.

The Time Of The Doctor is fucking dreadful for the most part. Moffat takes everything that may have annoyed you about the RTD finale and then multiplies it by a factor of 10 before dolloping on a few more ladles of pretentious stupidity for good measure. Combine that with the usual Christmas special bollocks, and it becomes truly nauseating to sit through.

A mysterious signal from a backwater planet attracts an army of Doctor Who villains into its orbit, but before we can ponder on how similar this is to The Pandorica Opens, we’re whisked off back to present day Earth for Christmas dinner with Clara’s family. Clara needs the Doctor to pretend to be her boyfriend (do women still do that? I haven’t seen a TV show try that joke since the 90s), but there’s a complication. The Doctor is naked! Oh how awkward and embarrassing! Why is he naked?

The Doctor: “Because I’m going to church!”

Of course he is.

You know at this point I’ve become so accustomed to Steven Moffat and Matt Smith’s obnoxious bullshit that i don’t think anything will phase me anymore. The Doctor could walk in wearing a bunny girl outfit and I honestly wouldn’t bat an eyelid. It wouldn’t be funny, but I wouldn’t be surprised neither. Because that’s the problem with doing a random, wacky Doctor. After a while the randomness gets to a point where it paradoxically starts to become boringly predictable. I mean it’s not as if there’s any reason for the Papel Mainframe to have a nudity policy, and the characters wear holographic clothes anyway, so if it’s not funny and it doesn’t serve a purpose, what’s the point?

So off we go to church to meet Tasha Yem, played by Orla Brady. A sassy, flirty dominatrix type character who has a thing for the Doctor. Well gee. haven’t seen that before in a Moffat episode. What’s even weirder is not only is Tasha Yem virtually identical to every female character Moffat has ever written, but she also has a lot in common with one specific female character Moffat has written. She can fly the TARDIS, has absolute authority over the Doctor and there’s a reference to her inner psychopath. Was River Song originally supposed to be in this episode? Either way, it shows how unimaginative Moffat is when it comes to writing women.

At this point the thing that’s irritating me the most (apart from Matt Smith) is the whole greatest hits remix. We’ve had cameos from the Daleks and Cybermen, the Silence show up for no reason, and now the Weeping Angels are back. It seems Moffat is determined to squeeze all the scary out of them completely and it’s just bloody irritating. There’s no reason for any of them to be there really and it’s completely self indulgent. I’ve said it before and I’ll say it again. Regeneration episodes should be about the Doctor. Never the showrunner.

And just when you thought Moffat was done mining through his back catalogue of crap, the bloody crack of doom shows up again. Turns out this is Trenzalore and on the other side of the crack is Gallifrey. The Time Lords want back in and need the Doctor to answer a simple question so they know they’ve got the right universe. Doctor who? Which leads to the main crux of the narrative. The Doctor having to protect Trenzalore from comedy Sontarans, Daleks that all of a sudden remember who the Doctor is now thus rendering Asylum of The Daleks completely pointless, and a wooden Cyberman with a flamethrower (I’m not even going to dignify that with a response). Armed only with his magic wand/sonic screwdriver, he must prevent another Time War from occurring. Oh boy. Where do we start with this bullshit? Let’s start with the Question itself. Why do the Time Lords need the Doctor’s name for verification? They have no problem listening to Clara’s pleas at the end. Why doesn’t the Doctor just tell them to stop broadcasting the signal and wait a bit while he deals with the mess they’ve caused? And what’s the point of the truth field? Either the Doctor wants to reveal his name or he doesn’t. He doesn’t have to lie about it. Plus Moffat ends up contradicting this by having the Doctor lie to someone about having a plan. So what’s the point?

At a push, this could have worked if the story focused on the people of Trenzalore. Get us to care for them and have the Doctor form a strong emotional connection with them, thus giving this siege some dramatic weight. At least put some effort into trying to justify why the Doctor stays so long (at one point he says he’s finally found somewhere that needs him to stay, but that’s bollocks. I can think of several places that could have benefitted from an extended stay from the Doctor). Instead Moffat seems more preoccupied with other matters. Like how many regenerations the Doctor has left and tying up the loose ends of his bullshit arcs. So the exploding TARDIS was the result of some rogue chapter of the Paper Mainframe trying to kill the Doctor. So they planned to save the universe from another Time War... by destroying the universe?

And the Silence are genetically engineered priests that make you forget your own confessions?... Doesn’t that make confessing your sins somewhat redundant once you’ve forgotten them?

And then there’s the whole Doctor dying crap. If the BBC had any balls at all, they would have made this the last ever Doctor Who story. The reason Robert Holmes introduced the 12 regeneration limit way back in The Deadly Assassin was in order to impose a limitation on the show. It would still have some longevity, but at the same time it wouldn’t be infinite and threaten to outstay its welcome. After the Thirteenth Doctor, that’s it. Now thanks to the retroactive inclusion of the War Doctor and the Ten clone we got in Journey’s End, Eleven is to all intents and purposes the last ever Doctor. And yeah. Why not? 50 years is a good solid number to end a show on, right?

But the BBC clearly have other plans.

A more naive member of the audience might think all the Doctor’s speeches about how all things must come to end might be setting us up for the grand finale to the whole thing, but naturally that’s not what happens. Of course Moffat finds some contrived way to extend the regeneration limit indefinitely. Doctor Who is the BBC’s biggest cash cow. They’re not going to let it go quite so readily. So Clara demands that the Time Lords save the Doctor like the spoilt, arrogant, entitled little prat that she is and hey presto, the Doctor can now blow up spaceships with his laser hands (God knows what’s going to happen when Peter Capaldi regenerates. He’s probably going to end up blowing up a small moon).

And don’t get me started on the avalanche of plot holes this opens up. So if the Doctor never died at Trenzalore, how did Clara jump into the wound in time to save the Doctor? Without the wound in time, there’s no Oswin or Clara in Asylum Of The Daleks and The Snowmen. Without Oswin and Clara, the Doctor would never have tried to find present day Clara in the first place. Without Oswin and Clara, the First Doctor would never have picked the right TARDIS back on Gallifrey (ugh). Good luck trying to work out the Eleventh Doctor’s canon now because Moffat has become so liberal with the timey wimeys that the whole thing has just descended into a mindless mess.

And even after all that, The Time Of The Doctor still isn’t finished yet. Oh no. Instead of Peter Capaldi walking down from the tower and into the TARDIS, we get another sappy monologue from Matt Smith about how change is good and how he’ll always remember when the Doctor was him, Murray Gold goes into overdrive with his violins in an attempt to drown us in slush, Clara starts crying her eyes out for no bloody reason (seriously, why the fuck is she crying? She knows what’s going to happen. Hell, she was the one that made sure it would happen. Dozy cow), and just when you thought this couldn’t possibly get any worse, fucking Amy shows up! For God’s sake! No doubt the Moffat fans were crying gallons of tears over this. I was too busy sticking a cushion over my face and trying to pretend this wasn’t happening. Honestly, I have never seen such cringeworthy, self-indulgent drivel in all my life. They should have replaced this with Steven Moffat giving himself a self congratulatory blowjob. It would have had the same effect.

So after all that bollocks, is there ANYTHING I liked about The Time Of The Doctor?... At all? Well... I did quite like Handles. He did make me laugh a few times and I was genuinely choked up when he died. Yeah, when you’re more upset over the death of a fucking Cyberman head than the Doctor’s, something has gone spectacularly wrong. I fucking hated this episode! It’s infuriating, self indulgent, utterly moronic and extremely dull. I was so fucking bored by this episode. I didn’t care about anything that was going on. I didn’t care about Trenzalore. I didn’t care about the Time Lords potentially returning. I didn’t care about the Doctor’s impending death. I didn’t care because Moffat never gave me a reason to care. As usual he’s more concerned about his convoluted series arcs and showing everyone how clever he is rather than telling an engaging story. And the most exasperating thing of all is this isn’t even Moffat’s last series. He’s still got the Peter Capaldi era to ruin yet. So why is he bombarding us with this fanwank tribute to himself? Are we going to have to go through all of this again when Capaldi regenerates this Christmas? Jesus Christ!

I suppose I should end with my final thoughts on the Eleventh Doctor in general. I think I’ve made my views on him pretty clear over the course of these reviews. I’ve got nothing against Matt Smith. I’m sure he’s a great actor and a lovely guy. I did kind of like him in his first series. It was a nice blend of quirky and serious. What really got up my nose was when they started to ramp up the goofiness to the point where I just wanted to hurl something large and heavy at his head in a desperate attempt to shut him up. He got so annoying and so irritating that by the time we got to The Time Of The Doctor, I was more than ready to see the back of him. And look, if you like Matt Smith’s Doctor, that’s fine. More power to you. I’m genuinely glad you got more enjoyment out of his Doctor than I did. It just wasn’t my cup of tea.

#the time of the doctor #steven moffat #doctor who #eleventh doctor #matt smith #clara oswald #jenna coleman #bbc #review #spoilers

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