
Time for some backstory. Among Red Dwarf fandom, there has long been debates about which series, or rather series of series, are the best. For the purists only seasons I and II were any good. Then there are those who champion series III-VI, and others who defend VII and VIII. I'd place myself in the wishy-washy camp. For my money series I to VI (1988-93) produced some of the finest moments in British comedy. But unfortunately series VII and VIII were, well, not as good. Both suffered the curse of the twee and compared very unfavourably with what went before.
The man mainly responsible was Doug Naylor, who along with Rob Grant formed the Grant Naylor writing partnership. At some point between the end of series VI and the start of VII, Grant quit the partnership determined to have more under his belt than just the 'Dwarf. Several unfunny novels later he's still scribbling away in relative obscurity, determined to escape his history. Naylor proved much smarter. He stuck with Red Dwarf and steered it through those difficult couple of seasons in the dying years of the 90s. But without Grant VII and VIII lacked bite. So when I heard a three-parter was due to be screened on Dave, entirely written and directed by Naylor, my hopes weren't high. But alas I was unprepared for what followed.
Red Dwarf: Back to Earth finds the boys - Lister, Rimmer, The Cat and Kryten continuing to float aimlessly through space. Nothing is happening. But then the crew become aware of a dimension-hopping squid has taken up residence in the ship's remaining water tank. They set out to investigate and inadvertently activate Katrina, a hologram of the ship's deceased chief scientist. Her mission is to use Lister to start off the human race again, and sets about using a severed tentacle to reverse the polarity and open a transdimensional gate way back to Earth. But something goes wrong, we are informed the reality in which they live is invalid and the crew is sucked through. They are vomited out of sets in a TV shop, the screens surrounding them full of the unfolding action. Isn't there something strange going on here? The chaps stumble across a Red Dwarf: Back to Earth DVD and from its blurb learn they are really characters in a TV show and are not real. They also read that they're scheduled to die at the end of the special, and so go off to find the writer and plead for extra life.
The problem is, it's terrible. The clever-clever postmodern plot of media creations becoming self-aware as media creations is hopelessly dated. The thing is you can tell Naylor thinks it's original and edgy, when in fact it is a hopelessly tired trope that's been not only done to death, but also carried off with greater aplomb elsewhere. If one was being generous, and I mean really generous, you could interpret this pomo turn as wry comment and cod philosophy. I'm sure media commodification absorbed a mighty blow when it made hey with Red Dwarf being brought back to cash in on the nostalgia of an affectionate and devoted fan base. And then there comes the Baudrillardian twist - it is all a dream and it happens we are the outgrowths of their imaginations, not vice versa. Deary me. This plot device could partly be forgiven if the jokes were spot on, but almost without exception they fall completely flat. The only consolation is that as comebacks-long-after-a-series-has-ended go, it's not as awful as Blackadder Back & Forth, but it comes pretty close.
The man mainly responsible was Doug Naylor, who along with Rob Grant formed the Grant Naylor writing partnership. At some point between the end of series VI and the start of VII, Grant quit the partnership determined to have more under his belt than just the 'Dwarf. Several unfunny novels later he's still scribbling away in relative obscurity, determined to escape his history. Naylor proved much smarter. He stuck with Red Dwarf and steered it through those difficult couple of seasons in the dying years of the 90s. But without Grant VII and VIII lacked bite. So when I heard a three-parter was due to be screened on Dave, entirely written and directed by Naylor, my hopes weren't high. But alas I was unprepared for what followed.
Red Dwarf: Back to Earth finds the boys - Lister, Rimmer, The Cat and Kryten continuing to float aimlessly through space. Nothing is happening. But then the crew become aware of a dimension-hopping squid has taken up residence in the ship's remaining water tank. They set out to investigate and inadvertently activate Katrina, a hologram of the ship's deceased chief scientist. Her mission is to use Lister to start off the human race again, and sets about using a severed tentacle to reverse the polarity and open a transdimensional gate way back to Earth. But something goes wrong, we are informed the reality in which they live is invalid and the crew is sucked through. They are vomited out of sets in a TV shop, the screens surrounding them full of the unfolding action. Isn't there something strange going on here? The chaps stumble across a Red Dwarf: Back to Earth DVD and from its blurb learn they are really characters in a TV show and are not real. They also read that they're scheduled to die at the end of the special, and so go off to find the writer and plead for extra life.
The problem is, it's terrible. The clever-clever postmodern plot of media creations becoming self-aware as media creations is hopelessly dated. The thing is you can tell Naylor thinks it's original and edgy, when in fact it is a hopelessly tired trope that's been not only done to death, but also carried off with greater aplomb elsewhere. If one was being generous, and I mean really generous, you could interpret this pomo turn as wry comment and cod philosophy. I'm sure media commodification absorbed a mighty blow when it made hey with Red Dwarf being brought back to cash in on the nostalgia of an affectionate and devoted fan base. And then there comes the Baudrillardian twist - it is all a dream and it happens we are the outgrowths of their imaginations, not vice versa. Deary me. This plot device could partly be forgiven if the jokes were spot on, but almost without exception they fall completely flat. The only consolation is that as comebacks-long-after-a-series-has-ended go, it's not as awful as Blackadder Back & Forth, but it comes pretty close.
Overall the viewing public pretty much agreed. From ratings of two million for episode one - a triumph for a digital channel - it had fallen by over half last night for episode two, and I doubt it recovered for tonight's finale. On TV and related forums, blogs and the tweetosphere, apart from die-hards who wanted it to be good, the verdict was damning.
There is talk of a 10th series (deliberately skipping the ninth - what it is to be ever so quirky!). If so it really needs to up its game. But I doubt it will work. Our post-ironic, post-alternative and irreverently banal times demands much more than the pen of Doug Naylor can produce.
Edit: Slightly more favorable review from Iain at Leftwing Criminologist here.




