I Am The Resurrection

Out now is another great Doctor Who audio play from Big Finish, by me, called The Resurrection Of Mars. Honestly, it’s really good. I’m not just saying that because I wrote it. I’m saying that despite the fact that I wrote it. I listened to it last night and the cast, the sound design, and the direction were all fantastic, and that’s nothing to do with me. It’s the second half of a two-part story, the first half being last month’s Deimos, which ended on a hopefully surprising you-thought-the-story-was-all-about-that-when-in-fact-it’s-all-about-this cliff-hanger.

I couldn’t even remember what had happened in the story, because I wrote it so long ago – the first drafts were delivered on the 26th June and 6th July 2009, back when I was an unmarried man of a mere 35 years - and the second drafts were delivered on the 17th and 19th July. This is fun, this is like writing an Andrew Pixley archive about myself. After more revisions at the beginning of August, the play was recorded on the 19th and 20th August. I mention this not because it will be of interest to anybody, but because it illustrates one of the ironies of writing; you turn something around something quickly – it’s very unusual, and very fraught, to be writing something 2 months away from the recording date - and then it comes out 18 months later.

It seems to have gone down pretty well, which is always flattering, though it’s difficult to find good reviews encouraging when there’s a voice in your head saying “Maybe you were a good writer once - but that doesn’t mean you’re a good writer now. You’ve peaked, that’s what it is, you peaked 18 months ago, and now all you have to look forward to is irreversible decline.”

Torturing myself by listening to the bonus bollocks on the end of the download – they put these little DVD Extra features on, featuring light-hearted interviews with the director, the cast, and in moments of rare desperation, the writer. I always have my nervous, job-interview voice, which is all hesitant and gabbly and pitched a couple of tones above my normal speaking voice. Which is so disappointing, because in my head, I sound exactly like Jimmy Stewart. Anyway, in this interview I mentioned that as a preliminary thing to writing this story, I wrote a 2,000 word essay on What My Story Would Be About, The Themes It Would Explore and How These Would Be Illustrated With Dramatic Situations. Remind me about it in a month’s time, I’ll stick it up on this blog.

Anyway, you can download the play from here.

This Is Not About Me

Only a brief update today.

In the, let’s face it, extremely unlikely event that this blog has not already given you more than enough of me spouting my words of wisdom, some additional words of wisdom have found their way into some fanzines/websites. Yes, that’s right. Interviews with me. Which weren’t my idea.

First up is a fanzine called The Finished Product, put together by a guy called Kenny Smith. Previous issues have featured me nattering on all about Max Warp (issue 3) and The Beautiful People (issue 5) and the latest issue (issue 6) contains all manner of devastating insights about the typing of The Mists Of Time, the story initially given away as a promo with Doctor Who Magazine and which will be released, box-set-style, in June 2011. Read it and weep. Tears of joy. It also features an interesting article about the adaptation(ish) of the Big Finish audio Spare Parts into the telly story The Age Of Steel, which includes Startling New Facts.

For more info, email thefinishedproduct@hotmail.co.uk

Secondly, a web-based magazine called Mass Movement. Take a look at their website, it’s all heavy metal bands. And there’s me, the fan of Erasure, Mika and the Scissor Sisters. I feel rather flattered. And slightly out of place, like the time I went to see a friend’s heavy-metal band wearing a rather nice jumper. Nevertheless, the interview itself is a fascinating read. Well, it was a fascinating write, your mileage may vary. In order to download the magazine, you need to click on ‘magazine’ at the top of the page, then the tinyurl in red, and then you have to ‘expand’ or ‘unzip’ the file.

So apologies for what has been an inexcusably self-regarding blog post; but then, if I don’t blow my own trumpet, no-one else is going to.

I'm Proud Of The BBC

It is a truth universally acknowledged that whenever there’s a story about the BBC on the Media Guardian website, the first half-dozen or so comments will be from pseudonymous idiots moaning about the license fee. I suspect it’s the work either of one obsessive individual or some right-wing affiliation such as the Taxpayer’s Alliance. As the next dozen comments will inevitably be reactions to this trollery, it only serves to undermine intelligent debate, and TBH, the sooner The Guardian installs a paywall and prevents people from posting under pseudonyms, the better.

Two thoughts on the license fee, though. Thought one. I agree that it is a problem that it isn’t progressive, and suggest that it could be made more progressive by making the charge per television set, or by charging more for HD (in the same way that, with the advent of colour, the BBC charged more for 625 definition over 525). Really, the BBC should have charged more for digital, if the government hadn't been so desperate to sell off the analogue bandwidth to telephone companies; as it stands, there are hundreds of hours of BBC 3 and BBC 4 dramas, comedies and documentaries that the vast number of license-fee payers have never had the opportunity to see – many of which deserve the opportunity to reach a larger audience. In the best of all possible worlds, the BBC would be paid for out of general taxation, whilst still having a charter guaranteeing funding and political independence; but that’s not going to happen, not under the floundering lack of leadership from Mark ‘Shall I punch myself in the face, to save you hurting your fist?’ Thompson.

But it’s the civil liberties argument that pisses me off. It trundles predictably along the lines of ‘The BBC should be subscription-only, so only those who watch it need pay for it?’ Which is moronic for two reasons. One, how the hell do you make access to radio and BBC websites subscription-only; and two, in order to enforce a subscription to the television channels, even more resources would have to be directed towards checking up on people, on fixing television sets and digital boxes to prevent access for non-subscribers, that the result would be even more expensive than detecting license-fee non-payment and would result in a greater loss of ‘civil liberties’. No, what this argument boils down to is the one repeated on the internet ad nauseum; ‘I want to get something for free that other people have to pay for’. Nobody is seriously suggesting they would voluntarily stop watching the BBC; they would just do so via their computers, consuming content that other people have funded. (See also: Books, Films, and Music).

My second thought is that both ITV and Sky are examples of how bad the alternative is; ITV because in its ever-more-desperate attempt to chase ratings, it has demonstrated itself to be ever-more crap at achieving them for anything other than soaps and ‘reality’ competitions; and Sky because it’s just such a bloody rip off. I mean, with Sky you pay a subscription AND you get adverts; they must think their viewers are complete mugs. They wouldn’t get away with that in USA. It’s ironic that the guy who runs it complains so much about the BBC, when Sky’s business model is entirely reliant upon the existence of the BBC, Channel 4 and Channel 5; those channels import the first series of the latest US dramas, they take all the risk, they pay the promotional costs, and they build an audience, only for to Sky come in and out-bid them for the rights to broadcast the remaining seasons. Sky’s modus operandi is to poach other’s successes; they cannot originate their own.

And finally, the most basic, cheapest Sky subscription is approximately £120 year. For that, you get a fraction of the content provided by the BBC, and you pay for it all over again by watching adverts. To give you some idea of the value for money, for £120 you could buy box-sets of the latest series of:

House
Glee
Desperate Housewives
True Blood
Stargate Universe

i.e. all of Sky’s top shows. For you to own, watch again and again, with full bonus bollocks and with no adverts, or watch once and sell on ebay. And for the price of an HD subscription, you could buy them all on Blu-Ray and have money left over.