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The Ninth Year: The Haunting of Swill House

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Behind The Creaky Door: A Horror Movie Rebuttal

“These stories frequently emphasise the element of horror because fear is our deepest and strongest emotion, and the one which best lends itself to the creation of nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear.” –

Notes on Writing Weird Fiction

H. P. Lovecraft, 1933

What’s behind the creaky door?

When my daughter first asked me the question “Do horror movies have to be scary?”, my immediate and unthinking response was “Yes”. And then, after a few seconds of reflection, “Actually, No.” Now, that may seem strange. Accepting that different things make different people laugh, a comedy film that isn’t funny is a failure by any standards. A musical with unmemorable tunes is destined to be quickly forgotten. A bad Rom-Com is…No wait a minute, all Rom-Coms are essentially crap, so that doesn’t really count, does it? But never mind, the question of how a horror movie that doesn’t scare can still be satisfying is a valid one.

First of all: What is a horror movie? The most common definitions (and there are several) talk about films which are intended produce a negative emotional reaction. But, I don’t think that’s the whole story. True, some horror films elicit involuntary bowel movements by jump scares and the liberal use of giblets. But the best do more, playing as much on our curiosity and instinctive fears of the unknown as on trying directly to scare us. Wondering what’s causing the strange noises upstairs is a strong element in any good horror movie, even if the solution isn’t necessarily frightening. So, I’d suggest that a horror movie is one that prompts curiosity and dread of the unknown as much as overt fear or scares.

Personally, I don’t think that a film must include supernatural elements to qualify as horror. And excessive and exuberant violence isn’t enough on its own, though many good horror films contain both. But a horror film must contain or at least hint at some sort of strangeness. For example, Alien (1979) is a horror film, in my view. And it contains no supernatural elements at all. But it is scary.

That it’s set in space and in the future don’t really matter. Sci-fi and horror are genres which regularly cross-over, partly because neither are constrained by narrow conventions. In either genre, when the hero or heroine finally pushes open that creaky door at the top of the stairs/opens the rusty airlock, there could be anything behind it at all. From a time-travelling, shape-shifting zombie to a dear, sweet, little old lady (who may also turn out to be a time-travelling, shape-shifting zombie). Just like Mr Lovecraft’s Weird Fiction, these movies can explore strangeness without the “galling limitations” of most other genres.

And for me it’s that exploration of the unknown rather than the final solution that defines the horror film. Fear and the unknown are closely linked, which is one of the reasons horror films can be frightening. The first film ever to scare me rigid was The Innocents (1961). The film contains virtually no violence and no scenes that are overtly frightening. The fear comes from the unknown, principally from not knowing whether the ‘ghosts’ exist at all or are simply a product of the overheated imagination of the main character. It is, without doubt, a horror film. As is George Romero’s Night of the Living Dead (1968). But Romero’s follow-up, Dawn of the Dead (1978) isn’t. Why? Because the zombies are no longer strange and unknown. They are a frightening but comprehensible external threat, a deus ex machina whose role and function is understood at the beginning of the movie. Not that Dawn of the Dead isn’t a cracking movie – it is. I just don’t believe it’s a horror film. But though it must deal with elements of the unknown, I don’t feel that a horror film has to be frightening to be effective. I believe that ultimate test of this comes from repeated viewing. There are a number of horror films which I have seen several times, and which I still enjoy. Most simply aren’t scary after the first viewing, but if they’re deftly made they can still be entertaining and satisfying more than once. I have lost count of the number of times I have watched An American Werewolf in London (1981), and I enjoy it every time. It’s certainly a horror film, but I don’t find it even faintly scary. Horror films deal with the broadest themes and those that find an echo in most people. Fear is often a part of the experience of watching the best horror films, but it isn’t essential and it’s lack doesn’t mean that a horror film can’t be engaging and effective. So, not all horror films have to be scary and not all scary films are horror. But to be a horror film, a movie must deal with the unfamiliar and the strange. And if it’s scary too, well, that’s probably because there is nothing we fear so much as the unknown. Ultimately, the nature of the thing behind the creaky door doesn’t really matter and doesn’t define a film as horror or not. It’s the journey to the door itself that makes and defines the genre.

Thanks to my Dad, Stephen MacGregor, horror buff, freelance writer, and owner of The Gun Place.

Doctor Who: Teen Asists Radically Dull Interstellar Shenanigans

Well, we had a good run. From Listen to School space robot nonsense, we got three episodes that were, at worst, pretty good, and at best magnificent. And I must admit I was sceptical of Kill the Moon all week-it looked far too much like a cut-and-paste version of handfuls of previous episodes. Doctor and company arrive on a spaceship where they soon realise events are not going as historically planned; against-the-clock shenanigans ensue; everyone goes home. And, to be fair, that’s what I got.

But this episode bored the crap out of me. I’m almost glad I didn’t hold off on watching it till I was with my regular viewing party, as I had a lot more fun pausing the episode to play with my cat for brief periods and sighing loudly than I did actually watching those forty-seven minutes. I’m going to start from the top with a run-down of everything I think was wrong with this episode, because, aside from a vaguely cool design on the moon, I couldn’t find much to enjoy.

1. Clara

It’s a shame for Jenna Coleman, as she really has proved herself an entirely competent actress a number of times over the series. Here, however, the script threw raging inconsistencies her way that put everything off kilter. For example, it’s revealed that Courtney- the fifteen-year-old schoolgirl the Doctor whisked off into space at the close of last week’s episode- has been acting out because the Doctor says she wasn’t “special”. Courtney breaks into the Tardis, demands he take it back, and the Doctor instead offers to make her the first woman on the moon (?). Now, let’s consider that Clara and the Doctor’s adventures are, at least, quite often life-threateningly dangerous, and the last time Clara took kids in her care anywhere, they wound up with cyberman brain slugs attached to their minds. And they just went to a theme park. Why in the name of fucking hell would Clara decide it was alright to bring Courtney along on their adventure? Courtney winds up in mortal danger during her trip and Clara snaps “I HAVE A DUTY OF CARE” to the Doctor when he refuses to remove her from trouble. Not bringing your students to space with a time-travelling alien might be a plan next time, pal. It might seem like nitpicking here, but it’s these kinds of inconsistencies-purely there to drive the plot forward- that undermine the validity of her character. Why would she do that? She wouldn’t. But they needed her to so there could be a story. And that’s cheating.

2. Courtney

I must say that the wee lassie playing Courtney actually did a reasonable job, by which I mean she was a child actor who I didn’t want to cheerily throw to a pack of lions. But the script for her was jaw-droppingly bad- at once she was cowering from the evil spider monsters (who were crap and not scary at all), the next she was uploading pictures of her and the Doctor on the moon to tumblr because YOOF. She was clearly aware of and actively participated in the situation when she was in the room, but when she was placed back on the Tardis she simply whined about being bored, despite having been fully cognizant of the seriousness of the situation only minutes before. I’d also like to point out that Clara has tried for a long time to keep her life as the Doctor’s companion quiet- why would she invite ONE OF HER STUDENTS, established at the start of the episode to be feeling somewhat neglected and unimportant and with evidence of alien tech (she had the Doctor’s psychic paper), into space where she then took pictures? It won’t be fucking secret for very long if you go about like that. There was an implication, too, that Courtney just carries about a bottle of disinfectant with her at all times, which I know to be a lie. I was young once too, you know.

3. Sundry Characters

I’m not going to waste my precious time looking up their names, but the episode also featured three other characters who were sent to the moon to try and destroy it. Aside from showing no visible surprise when the Tardis and it’s occupants appeared on their spaceship (nor any explanation as to why it was crashing, either), two of them bought in via spider bacteria death, and the remaining one was barely sketched in. Usually, as in the Into the Dalek episode, we get a decent idea of the character’s backstory and motivations, but here I came away with the image of a shop window dummy in a spacesuit. She was a complete nothing. And speaking of complete nothings, the spider creatures that inhabited the moon were never properly explained and bore no relevance to the plot. And were also a bit rubbish.

4. The Story

I’ve spoken before about how interesting I find the idea of a fallible Doctor, maybe even a “bad” Doctor. This episode tried to advance this theme somewhat, with the Doctor leaving Clara with her two pals to make a vital decision- did they destroy the huge hatchling living inside the moon, or allow in to survive and possibly endanger the whole of humanity? (The correct answer here, by the way, is to destroy it- an answer so blindingly clear that it removed any of the moral gravitas the situation wanted to demand. The life of one creature versus the life of six billion people). It turned out all along that he’d known they were going to save the creature, and was basically letting Clara ride without stabilisers for the first time. When Clara confronted the Doctor about this, it was a potentially powerful moment that simply came across as pouty and stroppy on Clara’s part because of the hellish writing and the obvious lack of conflict in the big choice (I cannot stress enough how none of this is down to Coleman’s performance- even as she basically telling the Doctor to fuck off forever, Coleman kept it just about grounded). And just while we’re on the plot, too- did anyone else pick up on the weird pro-choice overtones in this episode’s central conflict? I’m on side with them, but there’s a time and a place and this was not it. The pacing was pretty dire, too- the first act was waaaay too short, with a saggy middle and an end so silly Capaldi looked embarrassed reading it.

Overall, then, I really couldn’t recommend this episode on any level. This series has had some bad episodes, sure, but they were a different kind of bad. Deep Breath had some fun introductory moments for Capaldi, while Into the Dalek had a vaguely interesting basic premise that just wasn’t that well executed (for me, at least). This was actually boring. I could have run you through almost all the basic plot after the first five minutes, because I’ve seen this before. It’s easy to fall into traps of similair plotting when your series has been running as long as it has, but, when that happens, you’ve got to distract us with something- a cool villain, interesting side characters, a sense of fun. I’m throwing it out there now by saying that Kill the Moon was one of the worst Doctor Who episodes I’ve ever seen-a flabby, scrappy, predictable story, inhabited by actors who were trying to make the best of characters who were for the time being at least, going nowhere.

And as for next week’s promo, can someone sit all the Doctor Who writers down and explain that putting a historical vehicle in space does not equal brilliant science-fiction? I’ll have you yet, Moffat.

Abysmal TV-Endings: Part III – Dexter

I done wrote an article about the terrible ending of Dexter.

The New Companion’s Guide to Doctor Who, Part 2: The Doctor

Beginner’s Guide to Doctor Who continues.

Chapter Three – Live Below the Line: Day 1 & 2

A very interesting challenge an acquaintance of mine undertook to raise awareness of the millions of people living in extreme poverty. Donate to her cause here https://www.justgiving.com/Michelle-Nyberg/

suomitown's avatarAnecdotes from Abrobiano

Meals

Monday 8 September 2014

Breakfast – Porridge made of oats and water

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Lunch – Rice, chicken paste and yoghurt (don’t recommend)

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Dinner – Fried rice, frozen vegetable mix and chickpeas (best one so far!)

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Tuesday 9 September 2014

Breakfast – Slept in (is that cheating?)

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Lunch – Same as dinner yesterday, fried rice, veg and chickpeas

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Dinner – “Risotto”: Rice and frozen veg mixed with one egg

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Challenges

Having prepared some fairly tasty meals so far, as well as just wanting to forget about others, this week has certainly brought up some challenges. After Day 1 and 2 I have identified two main themes: Food prices and energy levels. First of all, food prices in London probably don’t give me an advantage in this challenge, as well as making the decision to include all my drink as well in the £5, which has left me with less money for…

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The New Companion’s Guide to Doctor Who, part one: Must-See Episodes

The start of my beginner’s guide to Doctor Who. Picking these five episodes was a genuinely gruelling experience.

The Death of Undeath: True Blood

I done wrote an article about the end of True Blood, a secret pleasure of mine.

Doctor Who: Telling Adventure Really Doesn’t Inspire Satisfaction

 

I was on a bus today, idly inspecting the drizzly Turner painting that greeted me out the window. We trundled by a farm (one of the terribly posh farms, with a shop that sells local produce, which is always jam or pickle or wood carved into the shape of a swan that’s also an ornamental bread holder), and, through the rain, I could make out something. Pinned to each of the fences were a collection of large banners, each of them asking anyone who cared to notice “Fancy a Cornetto?”. A fair enough ploy for the summer, you might, think, but these banners were being battered by a stiff wind, still damp from yesterday’s day of sheet rain, in a farm as empty as the call centres in Heaven. They summed up a very British predilection to blind hope in the face of overwhelming, almost hilarious odds- someone, somewhere, had realised it was summer and gone “wouldn’t some ice-cream just be lovely this time of year?”, and put out these futile signs. 

This week, my terribly British hope was eroded at again. I love Doctor Who, and I still think that it’s one of the finest TV shows ever to grace the small screen. Even after last week’s blunder of an opening (it was all summed up for in the look the consort’s brother gave me when the dire new opening credits played out: a flash of “JUST WHEN I THOUGHT IT COULDN’T GET ANY WORSE”), I was hoping that the Daleks might ground things in comfortable territory. They’re a hazing ritual for new Doctors, and a classic villain that people (not me, obviously. I hate them. They’re shit. I own a plunger, a whisk, and a fearful lack of regard for human life, and you don’t see Moffat casting me in anything) seem to love. But I didn’t like this episode. 

It swung between some fun, cool parts that I did like, and some almost embarrassing exploits that made me want to take the writers over my knee. The bits I did like, first- Zawe Ashton (who is an utterly brilliant comic actress whose turn in Fresh Meat-both ludicrously funny and starkly dramatic- is one of the finest performances on TV at the moment) was brilliant as stoic but gold-hearted soldier person. We also got the first glimpse of Danny Pink, a future major player in the series and currently an ex-soldier and new teacher at Clara’s school. I’ll say that he did really well, but the writing was crass and they were lucky that at least he brought the charm- in basically his first shot, he assigns homework and asks “Any questions?”, to which some little rapscallion intones “HAVE YOU EVER KILLED A MAN.”. It was both a line and a line reading so dire that I broke down into ab-crunching laughter, and, with uni starting in two weeks, I plan to direct this question to all my lecturers as a hazing process. But: Danny Pink was good. There were also some passably funny lines, as the Matt Smith humour is dropped in favour of Capaldi’s deadpan humour (“Oh, don’t worry, you’re built like a man”). I will also recant one thing: I criticised Ben Wheatley’s direction last week, but he did a grand job on Inside the Dalek, actually managing to make them look pretty cool and briefly threatening. 

Onto the bad. The story, which followed the Doctor and some compadres miniaturizing to go inside a broken Dalek that had started liking humans (let’s just not go near the premise this week, for my own sanity), was made up of two acts. It jarred terribly as it jumped from first act to third with nothing in the middle, as the Doctor staggered through awkward moral plot points and a script that was both too slow and too fast at various points. I was relatively game for a fun, silly episode that let us explore the iconic Who machine (just like Journey to the Centre of the Tardis so spectacularly failed to do last season), but the episode seemed terribly keen to stick it’s fingers down it’s throat and throw up some season-long themes.

This wasn’t an issue of it being a “dark” episode or a “fun” episode, as Who can do both almost simultaneously if it wants (See: The Empty Child/Doctor Dances, The God Complex, Blink), it was an issue of the script filling in what should have been bold, assured black and white with faded shades of grey. I’ve also noticed that Clara is starting to annoy me, and I don’t think it’s anything to do with Jenna Coleman- I think it’s just that her rambunctious energy worked best when paired with Matt Smith’s equal mania. Up against Peter Capaldi’s dour, more serious Doctor, she just comes across as a little grating and shrieky. The floating Dalek eyes I predicted last week turned out to be Dalek antibodies that killed people inside the Dalek, and I seriously don’t know if it’s better or worse. 

And you know what the worst part about all of this is? I’m still looking forward to next week’s potentially excellent Robot of Sherwood. Damn you and your hopeful witchery: I’ll have you yet, Moffat. 

Doctor Who: Who the Fuck is Missy?

 
At the end of the disappointing season opener Deep Breath last Saturday, we met Missy. A quiveringly mad Mary Poppins-type character, she appeared (played by Michelle Gomez) welcoming the clockwork half-man to a place she referred to as “heaven” and “paradise”, seemed to have a strong knowledge of the Doctor’s actions, and-worryingly, considering my very nearly permanent dislike for River Song- described herself as the Doctor’s girlfriend. We know she’s in the final episode which will have something to do with the Cybermen, and is titled “Death In Heaven”  (and directed by the excellent Rachel Malalay). There have been some insane fan theories floating about the internet, and I’m here to put them together and throw my own fevered imagination into the pot.

1. The Master

Literally every time any new character is introduced to Doctor Who, people start clamouring on about how they’re finally bringing The Master back. Look: it’s not going to happen. Moffat has said that he’s leaving The Master be for the time being, and, while it might be a cunning sleight of hand, I really doubt his arch-nemesis will be returning any time soon. Don’t get me wrong, I WANT The Master to return more than I want my house to stay upright, but I refuse to get my hopes up. Why would he refer to the Doctor as his boyfriend? Why is he guarding the gates of heaven? Is Philip Glenister there too? Tellingly, the main “clue” fans are basing this theory on is the name “Missy”- Mistress is a female version of Master, and the shortened version for that is MISSY. GET IT? DO YOU FUCKING GET IT?! THEY’RE BRINGING THE MASTER BACK, YOU GUYS!

(on second thoughts, I will look like the biggest arse ever if this turns out to be right).

Likelihood: 4/10. Never rule anything out in Moffat-land, but just rewatch the John Simm episodes if you’re that desperate.

2. The Rani

Another character who fans have a permanent, hopeful hard-on over, I actually think this would be the coolest option on the list. She’s a character from the original series, a foe of the sixth and seventh doctors, and, most interestingly, a renegade, female timelord and scientific mastermind. With the return of Gallifrey (and presumable restoration of the timelords) at the end of Day of the Doctor, it would be the perfect time to re-introduce the villainess, originally played by Kate Mara. Evil as they day is long, several fans have pointed out that the garden she appeared in vaguely resembled a Tardis.

It sort of resembles a Tardis with Rani in it, if you imagine the fountain is a centre console while screaming "I NEVER GOT OVER 1985!"

It sort of resembles a Tardis with Rani in it, if you imagine the fountain is a centre console while standing on your head and screaming “I NEVER GOT OVER 1985!”

If I were Steven Moffat- and long have I dreamt of the day- I would be tripping over myself to bring The Rani back, especially as a foe for a new Doctor. So that probably means it’s not going to happen, because Moffat NEVER LISTENS TO ME.

Likelihood: 5/10. More a pipe dream, but an awesome bit of potential.

3. Evil Doctor

The idea of the Doctor having several different sides that can form their own individual personalities and sometimes actually break free of him was explored a couple of times in the Matt Smith era (see: Nightmare in Silver and Amy’s Choice), and this lady seems to know rather a lot about the Doc. She’s also Scottish, like his new reiteration, and comments that she’ll keep the accent as she likes it so much. I wish this theory were less plausible as it’s so ridiculous and already brilliant, but this is a strong contender.

Likelihood: 6/10. Because why the fuck not.

4. Clara

We already know that Clara was sent spiralling into the Doctor’s timestream at the end of The Name of the Doctor, and found echoes of herself across the universe. Is it possible that this is one who broke free and went mad? With the seemingly pretty sudden departure of Jenna Coleman at the end of the season (strongly rumoured to be true), this could provide a way for everyone to tie up the Clara plot without requiring sexy Bambi on-set, as well as allowing the Doctor to seal the deal with their relationship without coming across like a creepy uncle. Fans have pointed out that she’s also wearing clothes similar to Clara’s from a few episodes back, though they may have forgotten the budget cuts. There was a lot of talk in the first episode of the burgeoning relationship between Matt Smith’s Doctor and Clara, with specific reference to the fact that he wasn’t her boyfriend. Did an obsessive and insane Clara turn into Missy? I bloody hope so.

Likelihood:8/10. Moffat loves to screw around with timelines and has previous for setting characters at different places along the same story, so this mad- Clara idea would be a fun way to wrap up her plot as well as provide EMOTION and DEPTH and AN EXCUSE TO BUGGER AROUND WITH TIMELINES AGAIN.

5. The Tardis

Sigh. Ever since The Tardis turned into a lady in that one episode, which seemed like a clever, quirky one-off to me, everyone seems to point at the screen shouting “Tardis! TAAAARRDDDDIIIIIISISISISISISISSSS!” whenever a mysterious woman appears on the show (every other episode). I wouldn’t loathe this outcome, but I would be pretty bored by it. It would explain the madness and the reference to the Doctor as her boyfriend, but Moffat either likes to a) fiendishly forshadow his big reveals or b) pull them straight out the blue. This is somewhere in between, and therefore doesn’t fit the bill.

Likelihood: 3/10. Snore.

6. River Song

You come back here, you little shit-

The Emmys: Let’s Do This Thing