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Adapting to Survive: The Cultural Regeneration of Doctor Who

100%
Cooper A.
Panoptikum
|
2012
|
issue 11(18)
130-140
EN
Doctor Who is the longest running science fiction television show in history and this year celebrates its 50th anniversary. This paper will explore two key elements which can be attributed to the shows survival; its ability to reflect cultural demands and its ability to adapt works for television from other mediums. In John Tulloch and Manuel Alvarado’s Doctor Who: The Unfolding Text it is stated that the show had to shift ‘its ground in response to social and professional pressures’ (3). This can best be seen in classic monsters which have returned in the new series, most notably the Cybermen and the Daleks. ‘Every writer of the first new season had written Doctor Who material before, (Marlow, 49) in varying forms, such as novels published during the ‘dark years’ when the show was not running, to the Big Finish Audio Drama’s. The writers managed to dwell on the shows rich fan based adventures, such as Robert Sherman’s 40th anniversary CD Jubilee, which became the new series episode Dalek, Paul Cornel’s seventh Doctor book became Human Nature and Stephen Moffat’s short story was broadcast as Blink. It will be argued that without being able to adapt and reflect cultural needs, as well as satisfying the needs of its fans, Doctor Who would not have survived five decades.
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Toxic YouTubers “hated” by Doctor Who? Animating multiphrenic incarnations of Not My Doctor anti-fandom

70%
Hills M.
Literatura Ludowa
|
2021
|
vol. 65
|
issue 2
69-89
EN
This article considers how popular/spreadable misogyny enters into Doctor Who fans’ discourse communities via fan-cultural appropriation, mixing external political and internal fan discourses. This can oppose fannish communal norms such as “convivial evaluation” and “ante-fandom”. The theoretical perspective taken in the article combines work on toxic fandom with anti-fandom to thus understand fan toxicity as “multiphrenic”, i.e. drawing on multiple discourses and self-investments, including responding to its own anti-fans. The article goes on to examine YouTube voiceover-commentary videos from one communally-prominent Whotuber representing Not My Doctor anti-fandom, showing how they use devices such as the acousmetre and “stripped down” subjectivity to open a projective space for toxic fandom and enact a flat affect characterising what is termed “performative rationality”. Crucially, leftwing narratives of toxicity and hate are completely inverted to the extent that Doctor Who and the BBC are presumed, without evidence, to “hate” straight white male conservative fandom.
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