Goodbye Torchwood
** This post contains spoilers for the 3rd season of Torchwood: Children of Earth **
I suspected two things would probably happen in Children of Earth (CoE)- either the Janto relationship would blossom into something progressive and innovative for a TV series, or the writers (particularly RTD) would shat on it. I was out of the country when CoE aired, so as soon as I came home this week I ordered the DVD, and now I know my second instinct was unfortunately true.
I am done with Torchwood, a show I have helped support (in my own small way) financially, publicly, and emotionally for two years. I am done with RTD. I’ve been led down the garden path and that is enough. I feared it would all come crashing down and that I’d be served up a big steaming turd sandwich, and I have.
A lot has been said elsewhere about how Torchwood was supposedly ground-breaking because it did not comment on a character’s sexuality… it supposedly just let it pass without mention, particularly if it was based on same-sex attraction (let’s leave aside the identity politics of ‘gay’ since CoE hopelessly muddies the water on that issue). Well that claim is absolute bollocks. All you have to do is look at how, over the entire run of the show, Gwen and Rhys’ relationship was portrayed compared to Janto. These two relationships were presented as parallel given the fact that Jack was a pivot point between both. One was repeatedly put on display, even to the level of bedroom intimacy (and of course Gwen and Rhys are left behind at the end of the third series to form the happy nuclear heterosexual family). Janto, on the other hand, was always played for laughs, comparatively glimpsed only in the background, and (without adequate reason given for the abrupt mood shift) suddenly turned into something gloomy and tragic in CoE. The myth that Torchwood somehow put its different-sex and same-sex relationships on any level playing field is simply not true, no matter how many “wink wink” same-sex snogs it put on the screen.
But I stayed with the show because I held out hope that once, just once, a same-sex relationship might be truthfully portrayed as (at least) equal to a different-sex one in a sci-fi show (a genre and a fanbase that, I am well aware, does not have the greatest reputation for inclusion). I hoped that Torchwood, executive produced by a gay man and staring a gay man, would be different than every other single sci-fi series in the world. I hoped that gay and lesbian sci-fi fans might finally get a seat at the genre’s table (a hope that straight fans are often too quick to ridicule but I would argue is beyond their comprehension). And in fact, the BBC and the Torchwood cast and crew went out of their way to infer that Janto would be spun off into a positive direction in CoE. The new series was heavily advertised in the gay press and Janto was even described as “groundbreaking”, “boundary-pushing”, and “the exciting next step for the characters”.
The series was rendered pathetic in CoE not only by the atrocious writing of the second half, but also by the clumsy, meaningless death of Ianto. A death that, ironically for a show called “groundbreaking”, played right into a historical tradition of the marginalization of “tragic” same-sex relationships on television. Although early in the series, the “couple” questions, and Ianto coming out to his sister suggested that the show might indeed take that brave step towards relevance and the questioning of sexual identity amidst passionate emotion- it simply pissed it away instead, along with the good feeling of myself and, I suspect, a sizable chunk of its developing demographic.
Many others have written about the pointlessness (both in terms of plot and character development) of the death of Ianto. I would only like to add that it was not only incredibly sloppy storytelling, but in its execution (er…. An unnamed virus that… somehow was put into an entire building… by aliens Jack decided to… shout at…) was very insulting to legions of fans and to GDL who created (from virtually nothing offered by the writers apart from a few quips) a strong, resonant character.
“Intra” the series, any true exploration of their actual relationship was minimized (Jack and Ianto had, what?- two brief, televised, terse exchanges on the issue in CoE?), and “extra” the series, the idea that Torchwood would represent anything other than a tired “business as usual” for sci-fi (or Dr Who for that matter) was mistaken, misinformed, and quite truthfully, a lie.
It was all smoke and mirrors. It only highlighted the fact that RTD, despite having a clear, quotable disdain for his series’ fans, simply confuses crass showboating plot stunts with dramatic narrative. And also that none of his executive team were apparently able to challenge him as he drove the series into the ground.
It is sad when potential is squandered. In the first two series, there were wonderfully written episodes, and even touching and fantastic moments in otherwise crap installments, that held a kernel of greatness. This potential included the Janto relationship, which even though RTD and the writers kept it in the background, suggested the opportunity to challenge dominant memes of the genre and accurately make insightful comments about a host of significant issues including sexual identity, commitment, desire, and the universality of love.
But now we know what it was, really. It was a gimmick. Despite the strong performances and hard work of GDL and JB, when the Janto relationship was brought to the foreground finally in CoE, it was done only to try and lazily make angst stand in for dramatic tension. Not to mention provide a lame plot point and issue character development that was quickly rendered absolutely meaningless by the subsequent actions of Jack.
It is an open question whether gay and lesbian writers- competent ones, unlike RTD- need to be the ones to finally step up and inject progressive depictions in such shows, where ones sexuality is -truly- un-commented upon but still portrayed faithfully and passionately. It is also uncertain whether TV network executives, terrified and shifty accountants that they all actually are, would green-light such portrayals. Particularly with “gay” as the new cultural bogeyman. As a writer, I am aware of this drive in my own work and I strive to meet its demands. If one wants a truly “21st century” label-free representation, one must be willing to provide all love affairs with the same amount of attention, validity, and worth. Otherwise, as we’ve seen in Torchwood, one comes to be seen as entirely disposable over the other.
Children of Earth, and the ineptitude of RTD, has left such a bad taste in my mouth, I am unwilling to go further with the series and the (remaining) characters. I am finished. Like the politician in CoE who does not realize that he is answerable to the voters, the writers of Torchwood seem unaware that in order to have an audience and fan base, they must embark upon a relationship of shared trust. They have been breaking that trust all along, although it took CoE to show the exact counterfeit nature of our relationship. To borrow a D. H. Lawrence quote from another poster: "Never trust the teller, trust the tale. The proper function of a critic is to save the tale from the artist who created it."
This particular tale has now become just another dumb, rudderless sci-fi show with nothing exceptional to offer. And this disappointed fan has had his optimism crushed.
Rest in peace, Ianto. Rest in peace, Torchwood.
I suspected two things would probably happen in Children of Earth (CoE)- either the Janto relationship would blossom into something progressive and innovative for a TV series, or the writers (particularly RTD) would shat on it. I was out of the country when CoE aired, so as soon as I came home this week I ordered the DVD, and now I know my second instinct was unfortunately true.
I am done with Torchwood, a show I have helped support (in my own small way) financially, publicly, and emotionally for two years. I am done with RTD. I’ve been led down the garden path and that is enough. I feared it would all come crashing down and that I’d be served up a big steaming turd sandwich, and I have.
A lot has been said elsewhere about how Torchwood was supposedly ground-breaking because it did not comment on a character’s sexuality… it supposedly just let it pass without mention, particularly if it was based on same-sex attraction (let’s leave aside the identity politics of ‘gay’ since CoE hopelessly muddies the water on that issue). Well that claim is absolute bollocks. All you have to do is look at how, over the entire run of the show, Gwen and Rhys’ relationship was portrayed compared to Janto. These two relationships were presented as parallel given the fact that Jack was a pivot point between both. One was repeatedly put on display, even to the level of bedroom intimacy (and of course Gwen and Rhys are left behind at the end of the third series to form the happy nuclear heterosexual family). Janto, on the other hand, was always played for laughs, comparatively glimpsed only in the background, and (without adequate reason given for the abrupt mood shift) suddenly turned into something gloomy and tragic in CoE. The myth that Torchwood somehow put its different-sex and same-sex relationships on any level playing field is simply not true, no matter how many “wink wink” same-sex snogs it put on the screen.
But I stayed with the show because I held out hope that once, just once, a same-sex relationship might be truthfully portrayed as (at least) equal to a different-sex one in a sci-fi show (a genre and a fanbase that, I am well aware, does not have the greatest reputation for inclusion). I hoped that Torchwood, executive produced by a gay man and staring a gay man, would be different than every other single sci-fi series in the world. I hoped that gay and lesbian sci-fi fans might finally get a seat at the genre’s table (a hope that straight fans are often too quick to ridicule but I would argue is beyond their comprehension). And in fact, the BBC and the Torchwood cast and crew went out of their way to infer that Janto would be spun off into a positive direction in CoE. The new series was heavily advertised in the gay press and Janto was even described as “groundbreaking”, “boundary-pushing”, and “the exciting next step for the characters”.
The series was rendered pathetic in CoE not only by the atrocious writing of the second half, but also by the clumsy, meaningless death of Ianto. A death that, ironically for a show called “groundbreaking”, played right into a historical tradition of the marginalization of “tragic” same-sex relationships on television. Although early in the series, the “couple” questions, and Ianto coming out to his sister suggested that the show might indeed take that brave step towards relevance and the questioning of sexual identity amidst passionate emotion- it simply pissed it away instead, along with the good feeling of myself and, I suspect, a sizable chunk of its developing demographic.
Many others have written about the pointlessness (both in terms of plot and character development) of the death of Ianto. I would only like to add that it was not only incredibly sloppy storytelling, but in its execution (er…. An unnamed virus that… somehow was put into an entire building… by aliens Jack decided to… shout at…) was very insulting to legions of fans and to GDL who created (from virtually nothing offered by the writers apart from a few quips) a strong, resonant character.
“Intra” the series, any true exploration of their actual relationship was minimized (Jack and Ianto had, what?- two brief, televised, terse exchanges on the issue in CoE?), and “extra” the series, the idea that Torchwood would represent anything other than a tired “business as usual” for sci-fi (or Dr Who for that matter) was mistaken, misinformed, and quite truthfully, a lie.
It was all smoke and mirrors. It only highlighted the fact that RTD, despite having a clear, quotable disdain for his series’ fans, simply confuses crass showboating plot stunts with dramatic narrative. And also that none of his executive team were apparently able to challenge him as he drove the series into the ground.
It is sad when potential is squandered. In the first two series, there were wonderfully written episodes, and even touching and fantastic moments in otherwise crap installments, that held a kernel of greatness. This potential included the Janto relationship, which even though RTD and the writers kept it in the background, suggested the opportunity to challenge dominant memes of the genre and accurately make insightful comments about a host of significant issues including sexual identity, commitment, desire, and the universality of love.
But now we know what it was, really. It was a gimmick. Despite the strong performances and hard work of GDL and JB, when the Janto relationship was brought to the foreground finally in CoE, it was done only to try and lazily make angst stand in for dramatic tension. Not to mention provide a lame plot point and issue character development that was quickly rendered absolutely meaningless by the subsequent actions of Jack.
It is an open question whether gay and lesbian writers- competent ones, unlike RTD- need to be the ones to finally step up and inject progressive depictions in such shows, where ones sexuality is -truly- un-commented upon but still portrayed faithfully and passionately. It is also uncertain whether TV network executives, terrified and shifty accountants that they all actually are, would green-light such portrayals. Particularly with “gay” as the new cultural bogeyman. As a writer, I am aware of this drive in my own work and I strive to meet its demands. If one wants a truly “21st century” label-free representation, one must be willing to provide all love affairs with the same amount of attention, validity, and worth. Otherwise, as we’ve seen in Torchwood, one comes to be seen as entirely disposable over the other.
Children of Earth, and the ineptitude of RTD, has left such a bad taste in my mouth, I am unwilling to go further with the series and the (remaining) characters. I am finished. Like the politician in CoE who does not realize that he is answerable to the voters, the writers of Torchwood seem unaware that in order to have an audience and fan base, they must embark upon a relationship of shared trust. They have been breaking that trust all along, although it took CoE to show the exact counterfeit nature of our relationship. To borrow a D. H. Lawrence quote from another poster: "Never trust the teller, trust the tale. The proper function of a critic is to save the tale from the artist who created it."
This particular tale has now become just another dumb, rudderless sci-fi show with nothing exceptional to offer. And this disappointed fan has had his optimism crushed.
Rest in peace, Ianto. Rest in peace, Torchwood.