TV « In Which We Have The Appeal of British Science Fiction Explained To Us »
Wednesday, July 22, 2009 at 10:50AM 
Everything You Wanted To Know About Sex And Time Travel But Were Afraid To Ask
by MARCO SPARKS
I do watch a lot of television science fiction, and it is a particularly sexless world. With a lot of the material from America, I think gay, lesbian and bisexual characters are massively underrepresented, especially in science fiction, and I'm just not prepared to put up with that. It's a very macho, testosterone-driven genre on the whole, very much written by straight men. I think Torchwood possibly has television's first bisexual male hero, with a very fluid sexuality for the rest of the cast as well. We're a beacon in the darkness.
– Russell T. Davies on his show, Torchwood
Time rifts, alien sex monsters, and creatures from beyond the stars. Contacting and threatening the people of Earth through the creepy chanting of every single child on the planet at the exact same time. Throw in a pterodactyl, a blowfish in Victorian garb, and a bisexual Han Solo with has a long sordid past that mostly occurs in the future and the British science fiction show Torchwood, whose truncated third season airs on BBC America this week as a five night miniseries event called “Children Of Earth,” may just have everything. But let’s start earlier…
It actually starts with Doctor Who, probably the greatest British TV show ever, and certainly the longest running science fiction television show ever. It starts with the Doctor, the title character, just “The Doctor,” a 900 year old alien from a race called Timelords who travels time and space fighting aliens, solving problems, saving the universe, and righting wrongs. He does it in his TARDIS (Time And Relative Dimensions In Space), which can look like anything on the outside (it’s much, much bigger on the inside) but is stuck in the form of a blue 1950s police box.
The Doctor, who is equal parts adventurer, tourist, and museum curator of all creation, is a man who gets bored easily, and lonely very, very easily. He likes to pick up human companions to travel with him, to give someone to show off to.
The Doctor is a classic in the mold of the British pacifist science hero. He spent his first 30 or so years fighting rubber suited monsters and villains that looked like trash cans shot on grainy video, and was played by ugly men with very bad, very English teeth. Oh yeah, forgot to mention: Whenever the character is mortally wounded, he can “regenerate,” i.e. change every cell in his body, thus changing his appearance and his personality. Perfect when it’s time to bring in a new actor.
old/current doctor
Then, in the 90s, the character went away. Sure, they tried to resurrect, er, “regenerate” stateside with a so so Fox TV movie, but come on, it’s Fox, so that was never going to work. But mid-2000s, the show returned in the UK, rejuvenated by Russell T. Davies, the creator of the original British Queer As Folk and a fan of Doctor Who since childhood.
The show now had real writers churning out smart, original science fiction, and was sleek on a special effects budget more befitting it. And the acting talent showed up: Davies cast Christopher Eccleston, such a brilliant force in the earlier Danny Boyle movies (now slumming it in dreck like Heroes and G.I. Joe), as the new incarnation (the ninth) of the Doctor, then regenerating into David Tennant’s uber geek mascot Tenth Doctor (who will soon be vacating the role for Matt Smith’s Flock Of Seagulls-do Doctor).
new upcoming doctor, with hot companion
Eccleston’s companion was former pop star and future call girl Billie Piper, and after a few episodes, they were joined in the TARDIS by the matinee idol good looks of John Barrowman as Captain Jack Harkness, former “time agent” from the 51st century and current conman grifter running scrams and breaking hearts across time and space.
Doctor Who was a show of so many things, primarily: Fun, whimsy, adventure, intrigue, mystery, terror (best watched from behind the couch at times), and smart science fiction. But there’s always one thing it lacked: Romance. Or, more accurately, sex. Though it’s made for adults, the brilliance of the show is that it’s actually for kids.
Thus the barrier breaking entrance of Barrowman’s Harkness, who was not only an American on a British show (think: a much more dashing Tom Cruise, should he exit the closet and could sing), and someone willing to kill the bad guys (something the Doctor will never allow himself to do), but he’s from a future where humanity is a little more flexible. In other words: He swings both ways, kids!
So, of course, he couldn’t stay in the TARDIS for long. But the character was too popular with people to just disappear into time and space. Hence, the spinoff, Torchwood.
The title, which is the name of the English organization set up by Queen Victoria to stop alien threats to Her Majesty’s kingdom (and to hunt down and kill the Doctor), started both as the arc word for the new series’ second season – the show, under Davies’ command, uses arc words to serve both as chilling foreshadowing at times and to remind you that there is ongoing storyline floating over “monster of the week” episodes – and as the original code name (Torchwood being an anagram for Doctor Who) for the new series’ production.
The show features Captain Jack grounded in our time, still wearing his circa-World War II military fetish garb, and his team of experts taking on alien threats in Cardiff and Wales (where both Doctor Who and Torchwood are filmed), and having lots of sexy adventures in ways that The X-Files could only dream about (or dread). They’re “separate from the government, outside the police, and beyond the United Nations,” and, at times, quite frankly a bunch of cry babies.
And that brings us up to the new miniseries, “Children Of Earth.” A quick Primer on everything Torchwood prior to and including the new miniseries:
— Gwen Cooper, played by Eve Myles, is our audience surrogate introduction to the world of Torchwood, a working class Cardiff cop recruited to the team and finding herself having to balance the crazy world of alien fighting against her home life with her lovable curmudgeonly husband, Rhys.
— Captain Jack can’t die. Sorry, forgot to mention that. Well, he can die, but due to a thing that happened with a thing, whenever he does die, he comes back to life just a moment later, and he does so in a very melodramatic, heavy gasp for air wherever his body lays.
— In contrast, there’s a certain anything can happen vibe that causes the show to occasionally kill of it’s main characters, just to keep you guessing, and to give more opportunity for…
— Crying. I mentioned this before, but with this show, and with some of these characters, it bears repeating.
— The continued parallels to the Buffy spinoff, Angel: the immortal occasionally brooding dark haired lead who can’t die and pines after the title character of the original show in a near constant state of fan service, the darkness, the bizarre fascination with standing on pieces of architecture watching the city sleep, the second episode being about a sex monster on the prowl in the dating scene, and a attention-stealing and faith-restoring set of appearances by James Marsters, who here plays Capt. John Hart, Capt. Jack’s former partner in many ways from the Time Agency and the future, fresh out of murder rehab and here to make Jack’s life a living hell.
— The theme song sounds like one of those preprogrammed into your phone.
— The post-watershed sex is out of this world crazy. In the first season alone, every single main character has not only at least one same sex encounter, but more than a few bump and grinds with aliens. It’s nice in that the sexuality is fluid and explored and Captain Jack isn’t just bisexual, he’s omnisexual. He represents something starkly real in that ultimately, he’ll fuck anything, regardless if it has a penis, a vagina, or alien tentacles. So perhaps the heroic Captain Jack has become quite the role model, not just for gay and bisexual viewers, but for anyone, because let’s face it, you’d at least consider fucking an alien, wouldn’t you?
no, we don't expect you to fuck an alien dressed like that
— Expletives. You have to be jealous that characters on British shows can drop the occasional cathartic “Fuck!” on regular TV whenever they feel like it.
— Crying. I mentioned this before, but with this show, and with some of these characters, it bears repeating.
— Lost’s Charles Widmore. Sure, he can’t find the Island, but on Torchwood he doesn’t need to since he’s marketing an evil cure for AIDS and Cancer using alien bugs that eat people. All of which leads into the show’s main problem, the general…
alien hunter casual
— Mediocrity. Of purpose, of character, of intent, worst of all. Hey, I didn’t say that this was a great show. It’s actually really choppy at best. But it’s guilty pleasure viewing, definitely. Odd curiosity, certainly. Hell, television like this was is exactly why we have Mighty Big TV/Television Without Pity.
There’s one thing I always meant to ask Jack back in the old days. I wanted to know about that Doctor of his, the man who appears out of nowhere and saves the world except sometimes he doesn’t. All those times in history when there was no sign of him. I wanted to know, why not? But I don’t need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and then look away in shame.
— Gwen Cooper
“Children Of Earth” sees bombs put in people’s stomachs, ancient secrets naturally haunt the present, class war, naughty politicians trying to save face, spunky cute assassins, betrayals, aliens using kids as narcotics, Captain Jack testing the limits of his resurrection powers when he has to put himself back together after being blown into little pieces, lots and lots of crying, and course, the revelation that the nastiest, most vile creatures in the galaxy may actually turn out to be the humans themselves. And all of it rather epically done on a TV show budget that causes it to hint and tease rather effectively rather than blatantly reveal.
In fact, don't worry about the first two seasons of Torchwood right now. You can Netflix them later. And while you’re at it, ignore everything I’ve said here. Just go watch "Children Of Earth." It’s melodramatic, it’s out of this world silly at times, but it’s also breathless, exhilarating fun.
Marco Sparks is a contributor to This Recording. He last wrote in these pages about comic superheroes. His blog is here. He tumbls here.
"Het Zilte Nat" — Sylvester Anfang II (mp3)
"The Devil Always Shits In The Same Groves" — Sylvester Anfang II (mp3)
"Na Regen Komt Zondvloed" — Sylvester Anfang II (mp3)
Silvester Anfang is the Funeral Folk collective gathered in a free folk droneband. The band started as a three-piece of Per, Edgar and Hellvete, but now the line-up depends on who's available to record/perform. Together with Ignatius Van Kempenhof and PI666 (who now became a vulcanologist in Switserland) Silvester Anfang started searching for a sound that might be something called Pagan Belgopsych. The compositions are mostly non-musical offertories to worship their almighty overlord Brohll.
Reader Comments (1)
I've been wanting to watch this show since I accidentally came upon a clip of Cap'n Jack dancing with his sweetie to the lovely tune "Nothing Matters When We're Dancing" by the Magnetic Fields