Reviews

Paradise Who? 'Doctor Who: The Nightmare of Eden'

The story's anti-drug message pops up from time to time, but thankfully, it never devolves into a shot of the Doctor sitting on a stool and addressing the viewers at home.


Doctor Who: Nightmare of Eden

Distributor: BBC Warner
Cast: Tom Baker, Lalla Ward, Lewis Fiander
Network: BBC
Release date: 2012-05-08
Amazon

An entire species can’t forget a paradise of beauty and innocence overnight, and Heaven is little consolation given that one has to die to get there. Still, there's a desire among humans to regain Eden, either literally or metaphorically, whichever comes first. Debate over how to achieve this impossible task might yield any number of paths back to the Garden, but it’s a sure bet someone will toss out the idea of drugs as a possible gateway.

Drugs of various forms have opened the minds of people for centuries, from ancient oracles to John Lennon. Even Mad Men’s Roger Sterling found enlightenment, a kind of personal Eden, courtesy of LSD, and if a childish, repressed ad man of the old guard can find it, why not the rest of us?

Perhaps we should consult a doctor or, better yet, the Doctor (Tom Baker). He knows a thing or two about drugs, specifically Vraxoin, a drug so potent, so addictive, it’s wiped out entire civilizations. “It induces a kind of warm complacency, then a total apathy. Until it wears off, that is,” the Doctor tells Romana (Lalla Ward).

They’ve arrived aboard the cruise ship Empress just as its collided with the partially materialized trade ship Hectate. These facts are relayed via dialogue because the clunky models and lighting effects which open the story failed to effectively convey this information. Now the Doctor and Romana are tasked not only with separating the two ships, but also finding a drug smuggler and contending with monsters called Mandrells which look like the offspring of Critters and H.R. Pufnstuf.

The various plot threads in “Nightmare of Eden” lend themselves to plenty of puns, but somehow it all comes together. The opening is marred by confusion, and the villain of the piece, Professor Tryst (Lewis Fiander) suffers from a comical accent, but there are also wonderful psychedelic sequences and a dizzying chase which makes the most of the show’s shoestring budget.

“Nightmare of Eden”’s anti-drug message pops up from time to time, but thankfully, it never devolves into a shot of the Doctor sitting on a stool and addressing the viewers at home. It’s surprising to see such a topical issue addressed explicitly rather than through some strangely costumed metaphor, but with so much going on there’s not much time to reflect on it before something draws the Doctor’s attention away.

The muddy plot is bolstered by particularly strong performances by Baker and Ward. Romana is cool and confident, and the Doctor appears as if he’s been on a bit of a Vraxoin bender himself.

The bonus feature “The Nightmare of Television Centre” tells the story of how everything that could’ve gone wrong on this story did, including the director being fired and the budget being slashed from its already austere level. The best of the bonus materials is a playful and insightful dissection of the story called “The Doctor’s Strange Love”, in which comedian Josie Long and writers Joe Lidster and Simon Guerrier discuss what works and what doesn’t in the show. There are lots of cracks about the botched effects, as well as many jokes at the expense of Tryst’s accent.

Grating voice and all, Tryst is essential to the plot(s). He carries with him a machine called the CET (Continual Event Transmuter), which contains real life pieces of alien habitats for species to live in so Tryst can study their evolution in their native habitats. One of these planet pieces he carries is from a place called Eden. Its name is mentioned almost as an afterthought, but it's the key to the drug smuggling and the destruction of the Mandrells.

The Doctor and Romana find themselves returning to Eden more than once in the story, and getting there is as simple as step through a screen and into the other world. The rest of us should be so lucky.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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