So, the next Doctor is going to be a woman. I’ve mused on this before:
The issues around a female Doctor are a bit more complicated. My first thought was that we had seen female Time Lords in the past, and had had no real reason to think that the Doctor’s regenerations could change gender, and so then we didn’t want to turn this into another “Dax” thing with male and female memories in the same body and all of the issues around them when we’ve gone for decades without having to worry about it. But then in some random surfing I found that it is possible that one of the Master’s incarnations was female, which means that that’s already there. I’m still not convinced it’s something worth exploring in Doctor Who, though, especially considering the shortness of those series.
Of course, the typical Social Justice people are generally thrilled with it, like Adam Lee. Of course, their arguments for it actually make me less inclined to support it because of just how bad they are and how they highlight potential complications and consequences that aren’t that great.
So, let me start with fandom in general, as any criticism of these things is always presented by them as simple misogynistic/racist ranting. Lee gives an example of one in his post:
I awoke this morning with a heavy sense of melancholic despondency, as if a dear lifelong friend had just died. Oh, wait a minute, a dear lifelong friend HAS just died. He was Doctor Who, albeit a fictional character in a sci-fi series but one who I’ve kept company with since the show began in 1963 when I was knee-high to a grasshopper. My now-adult children watched it, too, when they were younger. But the good Doctor has been slain by a small cabal of fanatical ideological fundamentalists in the name of “diversity” and “cultural relevance.”
I find that my waking melancholy is progressively giving way to vein-bulging rage, which is very childish of me and will give delight to virtue-signalling Guardian readers, whose intolerance and cruelty actually knows no bounds, despite their preposterous displays of right-on, Newspeak-approved compassion. While I’m still in the grip of that childishness, I should say that while of course I harbour no malice toward Ms Whittaker, I really do want the show to crash and burn after this preposterous casting decision…
Now, pause for second and consider this thought experiment. Imagine that the writers said that for the next series they were going to change the exterior appearance of the TARDIS to be something other than a police box. After all, people outside of Britain have never seen the things, and even in Britain they are quite rare, so new viewers are confused about just what it’s supposed to be. And it was established that the TARDIS had the ability to change its exterior to blend in, and that that circuit was broken. And even originally, it was just done to save money, but with current CGI that’s no longer necessary. So they’re just going to go ahead and fix it so that it blends in again.
Do you think that a large number of fans wouldn’t react to that in at least as strong a manner as Lee’s example?
Look, this is what we know about dedicated fandoms. First, they don’t particularly like change. Second, they certainly don’t like change for the sake of change. And thirdly, they particularly don’t like change that is aimed to appeal to an audience that isn’t them. Lee might want to consider this “entitled”, but for a dedicated audience this isn’t unreasonable. They were the ones who supported it all of those years. They are the ones that are responsible for it still existing, through their keeping it alive and in the public consciousness. Given how often these sorts of “changes” take away the things they like to add things that they don’t care for, they are right to fear those sorts of changes and are right to think that the writers shouldn’t be ignoring the existing audience to appeal to a new one, whether that is based on economic status, main stream status, or Social Justice status.
Peter Davison has rather mildly criticized the move:
But the 66-year-old told the Press Association: “If I feel any doubts, it’s the loss of a role model for boys, who I think Doctor Who is vitally important for. So I feel a bit sad about that, but I understand the argument that you need to open it up.
“As a viewer, I kind of like the idea of the Doctor as a boy but then maybe I’m an old fashioned dinosaur – who knows?”
Lee attempts to respond to that:
First: if this is really what you’re concerned about, let me assure you that boys growing up today are in no danger of being unable to find a male role model. Even if they don’t like Jodie Whittaker, the BBC isn’t throwing out old tapes anymore; they’ve got twelve male Doctors to choose from.
So, let’s consider a case where I decide to reboot the Sailor Moon anime using male characters, and when people say that doing so takes away important role models for girls I simply reply that they can still watch the original anime/cartoon and so that’s not a concern. Seriously, why in the world did he think that was even an argument? If he’d stuck with the standard line that there are already many similar role models for boys in other works — although those are getting rather thin on the ground — he’d at least have something that looked like an argument. This is just sad.
In the meantime, what’s so bad about letting the girls have a turn for once?
They did have a turn. It was called “The Sarah Jane Adventures”, was reasonably well-received, didn’t face this sort of criticism as far as I can recall, and only ended because the lead actress and namesake passed away. If they wanted to add role models for girls, all they needed to do was spin off another new show doing so. They could do, for example, “The Martha Jones Chronicles”, given her character development in Doctor Who. Or they could have spun off that lizard private detective and her lesbian lover with the Sontaran butler, which entertained me, at least, when they were on. If they had done so, then they could have maintained the role model for boys with the Doctor and added a role model for girls with the new series. If they really wanted a female Time Lord, they could have added one in Doctor Who and spun her off. But there’s always this insistence on changing existing characters for diversity or to add a role model for girls or minorities instead of adding new ones. This seems to be either a lack of creativity and imagination or else a cynical attempt to play off the existing popularity in order to support their own ideological convictions. Maybe one of them can reply here with a better explanation (although arguing about how hard it is to compete against established franchises doesn’t work here because since these are all spinoffs they would get the boost from the original franchise and, well, both The Sarah Jane Adventures and Torchwood worked out).
This also seems to miss the fact that even Doctor Who can provide those role models for girls. While Classic Who might have treated the Companions as, well, just companions the Modern Doctor Who clearly treats them as quite prominent and more as partners. The show has established how important they are to keeping The Doctor human, and a lot of the time the plots are driven not by The Doctor but instead by the Companions (“The Impossible Girl”, “The Girl Who Waited”, Rose, and so on). Why can’t Martha, Rose, Clara, and Amy be good role models for girls? Heck, Billie seems to be written precisely as one for girls and gay characters, so why don’t we have good role models for boys and girls right now? They could make a case if they were going to swap the Companion out with one who would be a good role model for boys … but they don’t seem to be doing that here. Thus, the whole model here really is taking a role model for boys away and not replacing it with anything, in a series that already had good role models for girls. That can’t be seen as anything other than a loss.
Also, it begs the question: why can’t boys look up to a woman as their role model? Davison takes for granted that this is the case, but doesn’t attempt to explain why.
Because the whole concept of the oft-cited arguments that we need to have more women as role models for girls pretty much refutes it? I don’t really see it as an issue that he accepts the argument that those who are pushing for a female Doctor are relying on in order to make his criticism. If we can expect boys to look up to women as role models, then we can expect girls to look up to men as role models, and then the whole role models argument falls apart (In little pieces on the floor, too wild to keep together, you know the rest). Since Lee references the “we need role models for girls” argument above, I’m not at all convinced that’s what he wants to do here.
There’s a profound failure of empathy here, one that’s at the root of many other problems: the idea that white men should only ever have to empathize with characters who look like them.
Which is balanced against the profound failure of empathy from Lee’s side, which both ignores that the counter-idea is that minorities can’t or shouldn’t have to empathize with white male characters — ie characters that don’t look like them — and that a lot of the reaction is due to the often explicitly cited justification for these changes that it will advance an ideology that is not theirs and that they are often neutral to as opposed to hostile to. Which ties back into the idea that if you want to make diversity or role models for girls an explicit goal creating something new or spinning off something would allow you to explore that ideological goal all you want without changing the existing thing in ways that might not work. Gee, it’s almost like empathy is a really bad method for figuring out how to deal with other people. Who knew?
Let me just quote his summary here:
There’s no way to appease people who are clinging to the past. The only way to introduce diversity to a classic series is to just get on with it, and ignore the mutters and grumbles of the troglodytes. It will soon seem like a natural, even obvious step, and the next generation of fans will wonder why anyone ever had a problem with it.
This just reflects perfectly the sanctimonious arrogance that characterizes Lee’s — and many other Social Justice advocates — arguments. He doesn’t actually have an argument here, contradicts himself and some of the key arguments used by his own side, has never established that it is good or even necessary to introduce diversity to a classic series, and yet someone this is just natural, obvious and only opposed by people “clinging to the past” and who are “troglodytes”. And remember, as proven I’m neutral on this, and his comments here are not helping his case, nor is his tone. The best way, it seems, to argue against diversity is to have Social Justice advocates argue for it, and that can’t be a good thing for their side.
Thoughts After Re-Reading “The Elenium”
July 31, 2017So, working my way through the David Eddings series that I actually liked — I think I tried reading one of “The Dreamers” and disliked it — I’ve just finished re-reading “The Elenium”. Remember, this — possibly along with “The Tamuli” — was my favourite of the series when I first read them, and this time after reading them back-to-back I was deliberately trying to compare them. And after doing so, my conclusion is … “The Elenium” is indeed significantly better than “The Belgariad” and “The Malloreon”.
One of the reasons, I think, is because it’s three books instead of five. It’s a bit shorter — looking at the collected books themselves, I’m not sure it’s that much shorter than the Belgariad, although it is definitely shorter than the Malloreon — and being only three books means that he doesn’t need to have as many reasonable endings to build towards to end that book on a high note that can be picked up in the next one. So, overall, the story can flow more and doesn’t have as much extraneous content.
Another reason is that for the most part the main cast is small and pretty much stays together for the entire series. Yes, he uses the tired old excuses of “The Younger Gods like symmetry!” to explain it, but we don’t have as many characters moving in and out of the story as we saw in the other works. That lets us get more used to the characters and so feel more attached to them, as well as allows him to elevate them above being simple stereotypes and archetypes. Also, when the characters do move out of the story they usually aren’t doing anything that important, allowing us to remain focused on Sparhawk and the other more main characters and so develop their plots and characterization without undue interruption. This means that pretty much all of the characters are more interesting and more developed than they were in the previous series.
Additionally, they don’t have the super-powerful, god-like characters of the previous series. Sparhawk is the main character, but while skilled he isn’t really a super-powerful, chosen-by-destiny character. Yes, they hint here that he is Anakha and so is outside of destiny, but in this series that’s mostly meaningless, other than that essentially he’s destined to be the guy who wields Bhelliom and probably because of that no one can tell what he will do with it. But Bhelliom here is a tool, not a presence. Sparhawk is skilled but no more overwhelming than any other magic-using knight would. The most powerful “normal” character is Sephrenia, and while she is very knowledgeable and very skilled at magic — and, again, very long-lived — she doesn’t know a lot of things and in general needs protection from physical attacks, unlike Belgarath and Polgara. Sparhawk is the person who is doing most of the investigation, and he doesn’t have a lot of advantages to make that all that much easier. The most powerful regular character is Aphrael, but she doesn’t do that much and really tends to act a lot like a Deus ex Machina most of the time. What this does is allow us to relate more to the characters because they are far more like normal people than most of those in the previous series.
This characterization also carries over to the villains. All of them are far better characterized than the villains in any of the previous series. As I’ve commented before, in “The Belgariad” Torak is the main villain and his henchmen mostly asides, but Torak isn’t developed enough for us to feel any pity for him at all, even though at the end we’re clearly supposed to. Ghwerig is only a minor villain, and yet in one short scene Eddings does more to get us to feel pity for his loneliness than he managed for Torak. While Azash is the god stand-in for Torak, the main antagonist is Martel, and his ending where Sparhawk finally kills him but Martel comments that he dies in the company of the only two people he ever really cared about is both emotional and fitting for that character.
Also, the quest structure and the dropping of specific prophecies to follow actually allows Eddings to work in those little side events that he loves so much more naturally. He can easily divert Sparhawk to rescue a besieged patriarch because while restoring Ehlana is important to the world, it’s not seen as being the one thing that can save it, and so it is easy to convince Sparhawk that while he has strong personal reasons for putting Ehlana’s life first, sometimes the at least seemingly “greater good” is to put that aside for some time and so other things. And since for most of the first two books they have no idea what they need to do to save Ehlana, they can chase all sorts of dead ends that serve no real purpose other than to do things that Eddings wants to do. In the previous series, it seems like an irrelevant distraction. Here, it not only seems less like that, but we can definitely feel that Sparhawk feels the same way, but has very good reasons to stop and do it.
And it also gets far more into politics than the previous series do. Yes, this is one that definitely appeals more to me personally than it does to others — after all, I also really like the political scenes in the Star Wars EU — but I loved the politics around electing the head of the Church and how all of that played out, and even wish it could have been longer.
That being said, I can see how some people might prefer the previous series because this one is far less “fantastical” than they were. The main religion is pretty much some form of Christianity, with the Church politics being modeled, it seems, a lot on Catholicism. The realms are very similar to standard medieval realms that we are all familiar with. The Styrics and the prejudice against them remind me a lot of the Jews. Thus, all of this is very, very familiar, whereas the history and institutions of the previous series were quite different. This also means that the previous series had a much deeper and more interesting lore than “The Elenium” does. So I can totally understand if someone finds “The Elenium” to be a bit pedestrian when compared to the previous series.
Also, I had thought that “The Elenium” and “The Belgariad” were quite different in story structure, but on reflection they actually aren’t. The first part of both is going out and finding the super-powerful jewel that they had lost and the second part is taking that jewel and going out to destroy the menacing god who is invading to try to get it. But I still think “The Elenium” just handles that so much better overall than “The Belgariad” did, with more interesting characters and a more interesting path to doing those two things.
Next, I’m reading “The Tamuli”, which I will also compare to the other works.
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