Nashville Public Television is currently running a bizarre little special called “Classic Hollywood Musicals.” You might think that a special with that title would be about the breadth and scope of Hollywood musicals, but this is basically about five of them: “The Wizard of Oz,” “Singin’ In The Rain,” “Seven Brides For Seven Brothers,” “Yankee Doodle Dandy,” and (so help me) “Viva Las Vegas.” The special jumps around, presenting a clip and a few little details about one of the musicals, and then another, and then another. There’s no rhyme or reason to it, no attempt to connect any of the movies to each other, and it’s written at a really simplistic and elementary level — many of the little details presented as fascinating revelations are actually old news to any classic movie fan. Is there anyone left who doesn’t know that the studio bosses tried to cut “Somewhere Over The Rainbow” from “The Wizard of Oz”?
What makes matters even worse is that it’s pledge drive season, and the woman co-hosting the pledge breaks keeps gushing about how she hasn’t seen, for example, “Singin’ In The Rain” in decades. She literally said that – decades!
Now, I realize the pledge break is intended to plug public TV stations and their programming. I wouldn’t expect them to mention or acknowledge Turner Classic Movies, a cable channel. But it sounds just bizarre to imply that these movies have been hidden away in a vault somewhere. “Singin’ In The Rain” probably gets shown an average of once a month on TCM. A good three-quarters of the people interested enough in classic movies to sit through this pablum-based documentary in hopes it will eventually become interesting is either a TCM viewer, or has a shelf full of classic movie DVDs, or both.
Yes, I guess there are probably a few elderly technophobes, receiving their public TV station by antenna, without DVD players, for whom catching a glimpse of “Yankee Doodle Dandy” is a rare and special treat. But that seems like a niche, not an audience.
Many of the previews and reviews of last night’s “Peter Pan Live!” noted that the lyrics to one of the songs were changed, with the participation of a Native American consultant, to eliminate negative stereotypes. (Some commentators applauded this, but others still found the scenes with Princess Tiger Lily to be dated and offensive.)
I do try to be sensitive to cultural stereotypes, and in fact I have a relative by marriage who has Native American heritage; connections like that sort of personalize the issue.
Then I noticed that TCM is showing “Good News” tonight. “Good News” is an MGM musical from the late 1940s, starring June Allyson and Peter Lawford, based on a much-older (and supposedly less-sanitized) stage musical. It’s full of all sort of hoary old clichés about college life. I don’t find the story particularly compelling. And yet, I’m going to sit here and watch it for one reason – Joan McCracken, a fascinating musical comedy talent who died tragically young and whom I know mostly from her work in “Good News.”
In fact – and, for reasons mentioned above, I’m ashamed to admit this – I mainly know her from, and am fascinated by, one particular musical number: “Pass That Peace Pipe.” The actual number doesn’t involve any Native Americans – it’s set in a malt shop – but it uses the imagery of the peace pipe and a sort of rhythmic recitation of the names of Indian tribes as if they were nonsense syllables. I know I should find it offensive.
But I can’t look away from McCracken’s performance. She sells that song in a way I’ve seen few musical performers do, staring straight ahead dead into the camera for several long stretches as if she owns the studio and Louis B. Mayer answers to her:
According to Wikipedia, McCracken helped promote Shirley MacLaine, encouraged her then-husband Bob Fosse to take up choreography, and was one of Truman Capote’s inspirations for Holly Golightly. But she had health problems related to diabetes and died when only 42.
I guess I’ll have to take the advice that my friends Brenden and Michael often put out on their podcast and try to be “a filter, not a sponge.”
This is one of those cases where I’ve blogged about a movie multiple times in the past, and should probably just look up the old post and link to it on Facebook rather than reinvent the wheel.
But I think it’s been a while since I’ve actually devoted a whole blog post to “Sullivan’s Travels,” airing at 8:45 p.m. Central tonight on Turner Classic Movies, and so I figured, what the hey, I’d blog about it again.
This is a movie that is funny, first and foremost, by one of the best comedy directors of the golden age, the wonderful Preston Sturges. I love Sturges’ other work, especially “The Lady Eve” and “Miracle of Morgan’s Creek.”
But “Sullivan’s Travels” also has a little hidden message – sort of an irony, since the message has to do with the fact that not every movie has to have a message.
Anyway, the central character is John L. Sullivan, played by Joel McCrea. He’s a movie director, perhaps a standin for Sturges himself, who has spent the 1930s making silly little movies with titles like “Hey Hey in the Hayloft” and “Ants In Your Pants of 1939.” But he’s decided that these musical comedies aren’t significant enough. He has been duly impressed by a “Grapes of Wrath”-style novel which he wants to adapt for the screen. (If you look closely at the cover, the author is Sinclair Beckstein, a wonderful melange of John Steinbeck, Upton Sinclair and Sinclair Lewis).
Remember, this novel, and “Sinclair Beckstein,” didn’t exist – they were made up by Sturges to be a plot point for the movie. I tell you that because the the title of the novel is “O Brother, Where Art Thou?”, a title which was appropriated a half-century later by the Coen Brothers and made into an actual movie, although the Coen Brothers movie is a lot more fun to watch than John L. Sullivan’s social-problem drama would have been.
The title, of course, was an obvious play on words back in 1940, when “Oh, brother!” was a much more common expression of annoyance.
Anyway, Sullivan tells the head of the studio he’s tired of comedy and wants to make a film of “O Brother, Where Art Thou?”
John L. Sullivan: I want this picture to be a commentary on modern conditions. Stark realism. The problems that confront the average man! LeBrand: But with a little sex in it. John L. Sullivan: A little, but I don’t want to stress it. I want this picture to be a document. I want to hold a mirror up to life. I want this to be a picture of dignity! A true canvas of the suffering of humanity! LeBrand: But with a little sex in it. John L. Sullivan: [reluctantly] With a little sex in it. Hadrian: How ’bout a nice musical? (From IMDb)
The studio mogul, who’s been making good money off Sullivan’s comedies, tries to discourage him without offending him. He tells Sullivan, at one point, that he’s not the right person to make a movie about poverty because he, Sullivan, grew up in an upper-class family and has never known hardship himself.
Sullivan takes that criticism to heart – but not in the way the studio head was hoping. Sullivan decides to take a leave of absence from the studio and wander the countryside dressed as a hobo. It’s a fallacy that you can truly understand poverty from this kind of gimmicky stunt, of course, and eventually Sullivan will realize that – but not before some twists and turns. Along the way, he encounters a frustrated actress (the mesmerizing Veronica Lake) who is preparing to give up her dream and move back to the midwest. He tries to encourage her aspirations without revealing his real identity.
It’s a lot of fun, and yet there’s a great moment of realization at the end of it. Please, if you haven’t seen this one yet, set the DVR or enjoy it with the family tonight.
Here, my friends, is the story of one of the most amazing things that has ever happened to me.
The thing I’m talking about happened this month, but in order to appreciate it we have to jump back a few decades, to the early 1980s in Tulsa, Oklahoma. I was a student at what I sometimes refer to as Famous Televangelist University. Christian college can be a stiflingly-conformist environment; I had a dorm director once proclaim in a devotion that it was one of the hardest places to be a Christian, because it was so easy to just drift along with the crowd and do all the right things for all the wrong reasons, or for no reason at all.
Then, as now, there existed both really bad Christian music and really good Christian music. I had the quirky sense of humor to latch on to several artists with satirical sensibilities – songwriters who could laugh at themselves and poke at the foibles of both the secular world and the imperfect church. During my years at ORU, I became a particular fan of the band Daniel Amos, singer-songwriter Randy Stonehill and singer-songwriter Steve Taylor.
Daniel Amos, by the way, played a concert at a church in Smyrna three or four years ago – the first time they’d toured in ages. But I couldn’t go; I was in camp that week, as a volunteer in Mountain T.O.P.’s Adults In Ministry program in Grundy County.
About a year and a half later, my wonderful sister, who had drawn my name for Christmas, gave me a ticket to a nostalgia-themed all-star concert of Christian entertainers from the 1970s and 80s which had Randy Stonehill as one of the headliners. But the concert (which was going to be taped for a TV special) ended up being canceled for some unknown reason.
For purposes of this story, then, let’s get back to the third member of that troika. Steve Taylor’s 1983 debut EP, “I Want To Be A Clone,” had a blistering, new-wave title song. That song, and the EP, were a perfect antidote to Christian college conformity. The song was all about Christian conformity, and how some within the church seek to impose their own private beliefs, practices and even language upon others.
By the time that album came out, I was using my own sense of humor to help keep me level at ORU. My good friend, the late Kendall Durfey, and I produced parody radio ads which I played over the public address system prior to on-campus movies (I spent 2 ½ years as ORU’s campus film chairman, and then my senior year I was vice-president of the Student Association in charge of campus activities). I wrote the spots, we both voiced them, and Kendall used his production expertise to make them sound great. In many of the spots, Kendall played a funny character, “Dr. Herb Zimmerman.”
I also wrote a humor column, “Speed Bumps,” for ORU’s campus newspaper, the Oracle, and was in charge of a special April Fool’s edition of the paper my senior year, setting the stage for the April Fool’s story I now do each year at the Times-Gazette.
Time marched on. I graduated in 1984 and moved home to Tennessee a year later. Steve Taylor released several more of his own albums. He was also a member of a crossover band, Chagall Guevara, which had a secular record deal. I went to see Chagall Guevara in Nashville in 1991, the only time I’d ever seen Steve perform live. Steve became a record executive, and played a key role in the success of Sixpence None The Richer, among others.
He directed a number of videos – for himself, for Sixpence and for other artists – and that gave way to him becoming a movie director. I and my girlfriend at the time went to Brentwood Baptist Church to be in the crowd scenes for “The Second Chance,” a movie Steve directed starring Michael W. Smith.
More recently, Steve directed a movie adaptation of “Blue Like Jazz” by Donald Miller.
Now, after a 10-year absence, Steve is making music again. He’s put together a new band, The Perfect Foil. Their new album was released earlier this week. A few weeks before that, Steve started releasing videos to promote the new album.
I enjoyed all three. While watching the last one, “Goliath,” I happened to click the “like” button on YouTube. Because of the way my YouTube account is configured, that automatically generated a Twitter post stating that I had liked the video.
Right away, the official Twitter account for Steve Taylor & The Perfect Foil favorited and retweeted my post. No real surprise there; any artist with a good social media team might have done the same.
But then, almost right away, I got a message from the account asking if I was the same John Carney who had attended ORU in the 1980s.
I had to admit that I was. I was also, at that moment, pretty curious.
The message came from Steve’s manager, Nick Barre. Nick was a few years behind me at ORU. He remembers the funny fake radio ads and the humor column. He said that Kendall and I inspired him, and made him want to be creative too.
We could stop the story right there and it would be pretty darn amazing. This guy remembers my humor – 30 years later! – and actually calls me an inspiration. He took the time to introduce himself and tell me so on a social media site. I was deeply flattered. That compliment alone made my night, and it’s probably the most amazing thing about this story.
But then, Nick continued. Steve Taylor & The Perfect Foil would be playing Nov. 21 at the Cannery, a Nashville nightclub. The band was billing it as their album release party.
“I’d love to put you on the guest list,” wrote Nick.
Nope; sorry. Not interested. I mean, why would I want to be an invited guest for a show by one of my long-time favorite artists? That wouldn’t be any fun, would it?
Two of my ORU friends, Emory Stagmer in Maryland and Darrell Grizzle in the Atlanta area, went to earlier concerts on the tour and gave them glowing reviews.
I arrived at The Cannery early enough to get one of the last few free parking spots, before people started having to park in the paid lot next door. I must have gotten there about 20 minutes before the doors opened at 7 p.m.; it was an 8 o’clock show.
While I was waiting outside, a man in a plaid shirt darted out, and we instantly, if hesitantly, recognized each other from Facebook profile photos.
Nick was busy with his managerial duties, but he stopped to introduce himself and welcome me to the concert (as if I were doing him a favor rather than the other way around). He mentioned that The Perfect Foil’s lead guitarist, Jimmy Abegg, was “under the weather,” which I mistakenly thought meant he’d have to miss the concert. It later turned out he had gotten severe food poisoning while the band was in Atlanta for that show earlier in the week. (Darrell, do we need to educate you Georgians on food safety?) He was still not feeling well at show time, and Steve made reference to this, but you couldn’t tell it from his playing.
Nick did, however, tell me that there would be “surprises” during the concert.
I made polite conversation with a few other people standing there on the porch – a lot of them, not surprisingly, were my age, and the porch looked like Old Fart Jubilee, to borrow a phrase from Joe Bob Briggs.
The Cannery Ballroom is one of those big open standing-room-only nightclubs. There are no tables around the perimeter or anything like that. I was there early, and so I was thrilled to be standing very, very close to the stage.
The opening act was the husband-and-wife duo Fleming & John – not a coincidence, since John Mark Painter also happens to be the bass player for The Perfect Foil. I’d heard the name but wasn’t really familiar with their work. I was blown away – they were great, melodic and entertaining. I will definitely be checking out their catalog. I posted a photo to Facebook after their set, and was tickled when my former castmate Sharon Kay Edwards responded by saying that “I’m Not Afraid” had been her “high school jam.”
Later, during his set, Steve said his goal next year is to release a new Fleming & John record.
Then, of course, it was time for Steve and the new band. They were every bit as good as I thought they’d be. I was worried about standing for three hours. Steve, who is 4 ½ years older than me, rubber-legged and skinny as a rail, bounced around the stage, flailing and crouching and spinning and leaping with the same energy I’d seen at that Chagall Guevara concert in 1991. He has an incredible stage presence.
The set was a perfect mix of new and old songs.
They opened with “Only A Ride,” which had been the first video released from “Goliath,” but “I Want To Be A Clone” popped up early in the set as well.
I was lost in the music throughout.
When the show was over, we screamed for the encore. Steve, true to form, came back out and performed – so help me – a cover of Beyonce’s “Single Ladies.” Then he launched into the real encore, “Jim Morrison’s Grave.” I had seen reference to this having been the encore at one of the previous concerts.
But it wasn’t the only encore.
After that, Steve brought out Dave Perkins, Lynn Nichols and Mike Mead from Chagall Guevara. Mead displaced Peter Furler at the drum kit, but Abegg and Painter stayed on stage, and The Perfect Foil / Chagall Guevara peformed a cover of “Gloria” and then “Violent Blue,” off the Chagall Guevara album. That was the surprise Nick had hinted at, and what a surprise and thrill it was.
Steve had promised to hang out and meet people after the show, and he was as good as his word. I had brought a 1984 issue of The Wittenburg Door with Steve on the cover, and he signed it for me. Nick was standing nearby and was kind enough to repeat his compliments in Steve’s presence, but the fact of the matter is that Steve was just as gracious to every single person who wanted to speak to him.
I’m an idiot, by the way, for not getting a photo of me and Nick as well.
By this point, it was after midnight. I told Nick I had to get back to Shelbyville so that I could get up early for a Relay For Life fundraiser at the Times-Gazette. Nick repeated his story of how Kendall and my parody radio spots, and to a lesser extent my humor column, inspired him, and how seriously he took it when he got the chance to program ORU’s campus radio station.
At this point, I’m wondering to myself: If I was really as talented as Nick perceived me to be, what happened? How is it that I’m now 52, overweight, single, seemingly at a career dead end, and fighting my way out of poor financial practices from earlier in life? I was kind of grateful that Nick didn’t see my white 1995 Geo Metro with one red door, the one I literally prayed before the trip would make it to Nashville and back without incident.
But this wasn’t a night for dwelling on the negative. This was a night to accept a great compliment, enjoy a great show, relive some memories and get to know some great new songs. This was, in short, one of the best nights I’ve had in some time – one of the best nights ever.
I didn’t get around to watching Monday’s episode of “Mike Tyson Mysteries” until tonight, and – after three episodes – I think this may be one of my new favorite shows, and the funniest thing Adult Swim (Cartoon Network’s late-night programming block) has done in years.
“Mike Tyson Mysteries” is a 15-minute-long animated parody of several different things, including “Scooby Doo” and various Saturday morning cartoon shows of the past built around real-life personalities like Mr. T and Jackie Chan. You may recall a few times when Robert Smigel’s cartoon segment on “Saturday Night Live” parodied the Mr. T. show specifically. Those segments were funny, but “Mike Tyson Mysteries” is funnier.
Tyson (voiced by himself, although all the other celebrities on the show are impersonations) travels in a Scooby Doo-like van with his adopted Chinese teenage daughter; the ghost of the Marquess of Queensbury (Academy Award-winning screenwriter Jim Rash, who plays Dean Pelton on “Community”); and a talking pigeon (the always-funny Norm MacDonald).
The show parodies that one season of “Scooby Doo” that involved celebrity guest stars. The first episode featured a murder mystery involving Cormac McCarthy and John Updike; the second episode featured Bobby Fischer, Garry Kasparov and computer Deep Blue; and this week’s episode involved Buzz Aldrin, Elon Musk, Elton John and Richard Branson.
Please note, this is a show for grownups, with adult humor.
One of my all-time favorite comedies will be on Turner Classic Movies: TCM? at 7 p.m. Central tonight. I have blogged about “To Be or Not To Be” before, but just in case you’ve never seen it, please watch it or DVR it.
The movie, directed by the great Ernst Lubitsch, stars Jack Benny and Carole Lombard as the leads in a troupe of Polish actors during World War II. Carole has a little bit of a backstage dalliance with a Polish pilot – played by an impossibly-young Robert Stack – that ends up getting her, and thus the acting company, mixed up in some spy chicanery and requires Benny to impersonate a traitorous Polish professor.
The movie was a huge flop on its original release – it was at a time in the war when people weren’t in the mood to laugh at the Nazis, and it was released just after Lombard’s death in an airplane crash. But in the years since, it’s been recognized as a classic. It was remade in the 1980s by Mel Brooks and Anne Bancroft, and that’s not bad either, but the original is still the best. Be sure and see or record it tonight if you haven’t yet seen it.
I have not gotten the chance to watch the new TV series “Gotham,” although some of my friends have praised it on Facebook.
The show is set in Gotham City, but without Batman – it’s set at about the time that young Bruce Wayne’s parents are gunned down. It follows young police officer James Gordon as he tries to keep his integrity while rising through the city’s corrupt police force, as well as showing or hinting at the origins for various other Batman villains.
The pilot was supposed to have been spectacular, although some critics haven’t been as impressed with the subsequent episodes.
I probably ought to check the show out, but I’m suspicious of the premise. To me, prequels like this end up being kind of forced, especially when you know for certain where the characters are eventually going to end up. I was never a regular viewer of “Smallville,” but I had to laugh at the episode descriptions – apparently, every major figure in the DC universe eventually had a flat tire while driving through the same little town in Kansas. What are the odds?
One thing almost no one has mentioned, and it surprises me, is that “Gotham” is not the first attempt at a Batman-free TV series set in Gotham City. That would be “Birds of Prey,” from 2002. I did see a few episodes of that (although it didn’t last very long).
“Birds of Prey,” based on a pre-existing DC comic book, takes place in a post-Batman Gotham City. Batman has had a final confrontation with the Joker, and it resulted in Selina Kyle (Catwoman) being killed by one of the Joker’s henchmen. Bruce Wayne, consumed by guilt and grief, disappears, and apparently the people of Gotham are too slow to notice that both Bruce and Batman disappeared from public view at about the same time.
“Birds of Prey” is about three women who try to protect the city in Batman’s absence, assisted by the always-loyal Alfred Pennyworth. Barbara Gordon, Commissioner Gordon’s daughter, is vaguely known in popular culture for being Batgirl, as in the 1960s TV series. But in the comics at the time, she was a little older, confined to a wheelchair, and using the superhero name Oracle. (Batgirl returned to the print comics just recently, as part of a company-wide reboot of DC storylines.) Huntress (Helena Kyle) is Catwoman’s teenage daughter, and finds out in the first episode of the show that her father was the now-absent Batman. She has mysterious mutant-like tracking abilities. Dinah, the third member of the team, is a psychic and telekinetic teenager.
Helena Kyle, distraught over the death of her mother and the departure of the father she never knew, has begun seeing a psychiatriist, Dr. Harleen Quinzel. Quinzel is actually Harlequin, who was Joker’s right hand and now runs a crime empire of her own. (The character of Harlequin as the Joker’s assistant was actually created for “Batman: The Animated Series,” but was quickly picked up by the print comics.) At the beginning of the series, neither the patient nor the psychiatrist knows about the other’s secret identity. Mia Sara’s portrayal of Harlequin was easily the best thing about the few episodes of the show I happened to see.
“Birds of Prey” wasn’t a great show, but it had some interesting ideas. I just find it amusing that every review of “Gotham” gushes over the idea of Gotham City-without-Batman, not realizing that it’s been done before.
I did not see, and would not have been old enough to appreciate, “Network” when it was still in the theaters. But I saw it on TV when it was still shocking. My younger friends have no way of appreciating this movie; if they watch it, it will come off completely different in their eyes.
When “Network” came out in 1976, there were three broadcast TV networks. Cable TV was a very minor business which primarily provided distant broadcast signals to rural areas too far away to receive them, as well as a few added bonuses like Ted Turner’s superstation (then still known as WTCG, later WTBS, now just TBS). Big cities didn’t even have cable TV.
The three broadcast networks were, make no doubt about it, profit-making businesses. But they at least wanted to maintain the illusion of public service, and the Federal Communications Commission required local TV stations to do that as well. The networks’ news operations weren’t necessarily loss leaders, but they were about prestige and respectability as well as profits.
So Paddy Chayefsky’s script in 1976 about a network dropping all pretense of public service, putting a ranting and raving lunatic on the air and surrounding him with astrologers and found-footage terrorists seemed like outlandish black comedy when it came out, and even a few years later when I first saw it. Paddy Chayefsky, a leading light of the “golden age” of live television in the 1950s, was accused of biting the hand that had fed him with this ridiculously over-the-top satire.
Now, of course, we have Kardashians and raving pundits (at both ends of the political spectrum). Howard Beale seems pretty tame compared to the reality of television, and popular culture, in 2014.
Yes, I know, I haven’t blogged much lately, what with the play and everything. I started to post this to Facebook but decided it was worthy of a blog post.
STEVE TAYLOR HAS NEW MUSIC OUT!!!!!!
You don’t know how happy this makes me.
Back in college, I was a huge fan of Steve’s, starting with his legendary EP, “I Want To Be A Clone.” I attended a Christian college, named for and headed by a Famous Televangelist, and Christians who had a sense of humor, or even a satiric edge, and indicated that it was permissible to think for yourself were like a lifeline to me in the middle of what could sometimes be a stuffy, conformist environment.
Of course, I’m a lifetime fan of Daniel Amos and of The Swirling Eddies, the overlapping bands led by Terry Scott Taylor (no relation to Steve). Steve, like DA, could make fun of idiocy both within and outside the church, and, like DA, sometimes caused controversy by doing so.
Later, after college, I loved Steve’s album “I Predict 1990” and then his participation in Chagall Guevara, a crossover band with a secular record deal. I remember going to a club in Nashville to hear Chagall Guevara, which I hardly ever did even in those days. But Chagall Guevara didn’t last long.
Steve moved on and became a producer and record executive. It was his record label that discovered and promoted Sixpence None The Richer, and he directed some of their videos.
That led to his recent work as a filmmaker. I actually went to Brentwood Baptist Church a decade ago to be in crowd scenes for “The Second Chance,” a movie he directed starring Michael W. Smith. More recently, he took “Blue Like Jazz” – a favorite book of mine, and one that you would not think would lend itself to the narrative of the motion picture format – and made it into a movie. I’ve never actually seen either film.
But now, he’s back where he belongs – making music. He’s put together a new band, The Perfect Foil, and has a new video, which sounds very much like the old Steve we all knew and loved:
I will be at the Celebration tonight, so my DVR is set to record Peter Capaldi’s first real appearance (apart from the last 30 seconds of the Christmas special) as The Doctor on “Doctor Who,” one of my all-time favorite TV shows.
I’m one of those annoying people who boasts that I’ve been a fan of “Doctor Who” since the show’s first run. I started watching Tom Baker and Peter Davison episodes on public television when I was in college. Oklahoma public television ran individual cliffhanger episodes of the show every night at 10. Independently, my father and brothers were discovering the show back here in Tennessee, where the Nashville public TV station ran it on Saturday night, stitched together into entire stories.
When the BBC revived “Doctor Who” in 2005, it originally ran on SciFi (now SyFy) here in the U.S., and didn’t have much of a following. But BBC America eventually got the show, and did a much better job of marketing it. Now it’s built up quite a following here in the former colonies. But I can still smugly say I knew it way back when.
I’ve posted numerous times in the past trying to explain the show for those who weren’t familiar. I’ll try to do that again here, but a little more succinctly. It’s a science fiction program, which ran from 1963 to 1989 in the U.K. There was an attempt to bring the show back in 1996 as a joint British-American production, filmed in Canada, but that only produced one TV movie. Then the BBC brought the show back on its own in 2005.
Unlike some other long-running science fiction franchises, like “Star Trek” or “Battlestar Galactica,” “Doctor Who” has achieved its longevity without ever rebooting its continuity. It’s one long storyline, going back to 1963. The main character has been played by a dozen different actors, the latest of whom starts tonight. They differ quite a lot in age, appearance and even in personality. You could say the same thing about James Bond, of course – but the difference is that in “Doctor Who,” the change from one actor to another is written into the story. The Doctor is an alien, and one of his powers is that when he is subject to great physical trauma, he can “regenerate” – create a new body. The new body is still The Doctor, with all his memories, but may have differences in personality and outlook.
That’s what’s happening tonight. In the episode that aired on Christmas Day, the old Doctor, played by a quirky and relatively-young actor named Matt Smith, regenerated into Peter Capaldi, whose age is more in line with some of the doctors from the old 1963-89 version of the show. Here’s how that episode ended:
As much as I liked Matt Smith – and I did like Matt Smith – there have been hints that the show may now go in some directions more like those older episodes, and for us long-time viewers, that sounds like a treat.
The Doctor travels through time and space in a vehicle called a TARDIS. From the outside, it’s the size of a phone booth and has the appearance of a police call box, which was a common sight on the streets of London in 1963. But the real police call boxes went away and that box is now associated exclusively with “Doctor Who.” The TARDIS is huge on the inside, which is a constant source of amazement whenever the Doctor invites some earthling (or other alien) to travel along with him for a while.
If tonight’s episode is like past regeneration episodes, The Doctor won’t be quite himself for a bit (for example, in the clip above, he seems to have forgotten how to fly the TARDIS). He usually has a bit of a recovery process while he gets used to his new self.
I’ll be at the horse show tonight, preaching in the morning, then we have a family birthday celebration and I have a rehearsal. But hopefully, sometime late tomorrow afternoon or tomorrow night, I’ll get to see tonight’s introduction to the Peter Capaldi era. Until then, no spoilers!