17

Ms. Kizlet is using the wi-fi signal to control people in the coffee shop.

 “I do love showing off,” she says through a waitress she has made her puppet. “Just let me show you what control of the wi-fi can do for you,” she adds through the mouth of a young girl.

It’s a tech demo. Here’s what this latest version of the operating system can do. Upgrade now. The iconography is all ruthlessly current. Particularly fitting: Kizlet and her crew are playing around on iPads as they do their little Steve Jobs routine. You almost expect her to reveal that they’ve captured Clara with an “oh, and one more thing.”

Kizlet explains that they’ve “released thousands” of base stations into the world, blanketing the whole of humanity in their Worldwide Web of Fear.

Meanwhile, Clara’s on her laptop. She recognizes the vulnerability in every grand system: people. With just a bit of clicking around she’s figured out where Kizlet is transmitting from. The most obvious spot in London, really. Kizlet's client loves using grand projects for his own purposes. It’s what he did in the Underground, and it’s what he’s doing now. But it’s 2013 now, and London’s grand projects aren’t for the little people anymore. Now they’re for the elite.

So it's the perfect place for Kizlet’s operation. The prestigious tallest building in London, to be filled with high-paying businesses. The metaphor is straightforward: the grand prestige project, like the Olympics and the Jubilee from the same year, is literally eating people alive. Construction is consumption. It even consumes and annexes the protests against it. Its name comes from the complaints about its design - the fear that it would be “a shard of glass through the heart of historic London.” Of course, the objection, like the vision itself, is concerned with the abstract form of London, as opposed to with the lives of those within it. Heritage London or the modern corporate state. It’s all the same: an aesthetic to show off. A system for control.

And yet, architecturally, the building is designed to be invisible - to blend into the clouds around it. Control is always supposed to be invisible, after all. Just something in the air, like the wi-fi signal itself. The spectacle is always showing off and remaining invisible at the same time. As with any demo, it’s not just technology being shown off. It’s ideology. Dressed up, inevitably, in the rhetoric of upper middle class consumption. The Great Intelligence wants “healthy, free-range, human minds.”

 “The farmer tends his flock like a loving parent,” Kizlet says.

“The abbatoir is not a contradiction,” she insists.

“No one loves cattle more than Burger King.”

So the Doctor smashes into the side of the building and tears it all down.

The Way We Live Now

Capaldi.  Wow.  I'd have put money on it being some new variation on the Tenant/Smith entity.  A young relative unknown with male model looks (one reason Moffat says he hired Smith is that he looked like someone who got photographed wearing pants for a living).  I admit, I'm astonished.  Capaldi is a genuinely great choice (if only I could believe he's likely to get decent scripts to work with).

Of course, the Doctor is STILL not a woman or a person of colour... but I'm not 'disappointed' because I never expected that to happen.  Either written by Moffat would've been likely to end up as a blood-curdling, shaming disaster.  As one bizarre online comment has it, Moffat's idea of a woman Doctor wouldn't have pleased "internet anti-equality feminists" (whatever the bloody hell an 'anti-equality feminist' might be).

So it's probably just as well that Moffat has - completely out of left-field - cast an older, male, white Scotsman. 

On the subject of online comment...  Facebook and Twitter are now plastered in remarks and memes in which fans sneer at all the (supposedly) weepy young fangirls who're unimpressed with Capaldi because he's not young and hot.

There's a bit of me that sympathises with the derision, if I'm honest. These young whippersnappers are annoying (largely because they're young and happy and I'm neither)... but the comment on this has immediately become venomously contemptuous and sneeringly sexist.  Because the focus is clearly on the silly, hormonal young wimmenz.

Viz:

Yeah, 'cos that's just what the Fourth Doctor symbolises: sneering at young women.

There's also a YouTube video doing the rounds of a young woman, possibly a teenager (I can't tell anymore; anyone under thirty looks like a foetus to me nowadays) reacting unhappily to the announcement that the new Doc will be an older, craggy fella.  Take a look at the comments below it.  I shouldn't need to quote them.  They're all too predictable.

As I say: misogynistic society + internet anonymity = ugly honesty.

Apart from anything else, this is rank hypocrisy. Just imagine the tantrums from the legions of sad, middle-aged fanboys if the new companion were an older, craggy actress rather than some perky young ingenue that they'd like to daydream about tupping.

Still, that's sexism for you. The sense of entitlement on the part of the privileged is so ingrained that it isn't even noticed, and any challenge to it as perceived as persecution or silliness.

On a related issue (well, it's the same issue really), it seems Moffat took the opportunity of the Capaldi announcement to sneer at the idea of a woman Doctor.  He says, sarcastically, that he wants a man to play the Queen.

Well doesn't that just say it all?

Firstly, Moff, why do you always, instinctively run to establishment authority figures?  You creep.

Secondly... OH YEAH 'COS NO MEN HAVE EVER PLAYED WOMEN HAVE THEY!?!?!?!?!  I MEAN, IT'S NOT AS IF CROSS-DRESSING AND DRAG ARE INBUILT, AGE-OLD ASPECTS OF THE BRITISH THEATRICAL AND TELEVISUAL TRADITION!!!!!  IT'S NOT LIKE MALE ACTORS, MALE WRITERS AND MALE PRODUCERS HAVE BEEN APPROPRIATING FEMALE CHARACTERS AND EXPERIENCES FOR, LITERALLY, CENTURIES, IS IT!?!?!?

Of course, that's not even the point.  Indeed, Moffat's glib deflection is a paradigmatic example of entitled fanboy tactical point-missing.  But we'll let it pass.  I'm not here going to rehearse, yet again, the same rhetorical questions about why an alien who changes his entire body periodically can't spend some time having a fanny instead of a willy.

Oh dear, look, I just rehearsed it.

Whoops.

The real point here is that the Doctor is a cultural marker who punches well above his weight.  And he is currently an exclusionary marker masquerading as an inclusive one. Still, as I say, that's the norm... and any challenge to it is perceived as persecution or silliness.