Christmas Countdown

In review: Doctor Who 2012 Christmas Prequels

Ah, the Doctor Who Christmas Special, instant tradition invented in 2005 with The brilliant Christmas Invasion, followed each year with variations on traditional Christmas film styles: a midwinter’s journey, from screw-ball comedy via blockbuster disaster and mock epic, to the current mode of romantic and literate sf-fantasy with hints of steam-punk and paganism.

This year, the Doctor Who team revisit Victorian values, in The Snowmen, due for broadcast on Christmas Day at 5.15pm. If two years ago the Doctor played ghost to Scrooge, it seems this time the Doctor himself is cast as an uncommon Scrooge.

Back in November Cardiff revived an aspect of the tradition going back to 2005: the Children in Need prequel to the Christmas special.

The Great Detective.

TX: 16 November 2012

My main problem with this was the arch, knowing humour which plays incongruities for laughs. How Mark Gatiss plays the narrator’s line about the Victorian detective! Inter-textually, this refers to Sherlock of course, thus setting up the punchline: ‘I refer of course – to Madame Vaastraa’. A moderately clever gag lampshaded and rendered excruciating by Gatiss’s unfortunate delivery. A rocky start led to another over egged gag about the henchman Strax

‘whose¬†countenance¬†was too horrible to be photo-graphed’,

which when revealed as a not particularly horrible Sontaran accompanies one of Murray Gold’s musical exclamation marks.

Fortunately this air of beautifully produced but rather forced humour is punctured by the arrival of the ‘fourth member’, the ‘shadowy figure’ of Matt Smith.

Cool

I have to say I adore his new Xmas costume, I feel the Doctor looks genuinely ‘cool’, perhaps for the first time since 1979. So I was pleased to read recently Moffat’s comments on costuming the Doctor, signalling a move towards varying the actual clothes while retaining some ineffable essence of this Doctor’s look or style, a reading of the 1970s ‘version of it’.

The Doctor’s melancholy rejection of the gang is well played, and mysteriously finished off by the Doctor disappearing into thin air as he walks off, as if walking through dimensions. Disregarding that, the format and hook of the special is set up in Jenny’s final ‘Merry Christmas’ to him, reminding us that, as has been noted by the Tenth Doctor in 2007, Christmas always seems to be a busy time for the Doctor these days. Something is bound to come up.

Ending on a repeat of the joke about Strax threatening the moon is I presume the rebel in Moffat producing an anti-cliffhanger to rival Barry Lett’s finest.

Pleasingly, there’s a part two.

Vastra Investigates

TX online: 17 December http://www.bbc.co.uk/programmes/p012q4yl

I loved this sketch’s combination of info-dump and comedy, giving us useful back story, reminding the audience who exactly Jenny, Vastra and Strax are. I watched this with a mate the other day and he loved all the jokes, as did I. TBH the trailer shown an hour or so after the first ‘minisode’ in November didn’t excite me, but I remain intrigued. The Doctor the Widow and the Wardrobe has had an airing to general like this year. Two very different friends of mine watched it recently and both reassessed their formerly low opinion. It’s a grower. Maybe they’ll pull off something even better this year.

But, evil snowmen? Maybe this one’s best watched with child-like eyes. Leave your cynicism at the door, but please don’t forget Strax’s grenade!

Merry Pagan Feast Day everyone.

Well, when I sat down to watch the Doctor Who Christmas Special today, I certainly looked forward to an intriguing hour. After the event I’m just sitting here with the remains of Xmas dinner thinking that of all possibilities, the last thing I expected to be watching was the secret origin of the Great Intelligence.

XOM and the question of music, part 2

In Review: XOM’s Rock ‘N’ Roll Sing-along

Part Two: The Greatest Gift
British Oak, Stirchley: 20th December 2018

Christmas comes but once a year, and as Christopher Hitchens remarked, you can’t get away from it then, like a one-party state, with its regulation songs, symbols and, ‘sickly Santa Claus obsequies’. Contrary to popular belief, even suicide rates decline in midwinter’s icy grip of good cheer, by order.

Having successfully batted away that pesky GBH charge, and completed my teaching qualification, I’d been looking forward to a pleasantly healing and productive autumn.

Yeah right. Turned out to be yet more unrelenting trauma, topped and tailed with all sorts of tiring idiots making outrageous and unacceptable demands on my liberties. Professionally it was full to the brim with “thoughtful and insightful work” writing and designing, as well as various interviewing and speaking engagements. And with my principle antagonist somewhat chastened I did get some peace and quiet, some rest, until Xmas, and was able to put more time into my stringed, percussive, and choral pursuits. So it turned out to be a musical fall, bound for winter’s ground cushioned by the comfy chair of XOM’s Xmas sing-a-long.

Earlier in the year I’d been asked to write some site-specific verse to be performed at one of Birmingham’s Oak trees, and came up with a serviceable enough piece of work that referenced the British Oak, Stirchley, a pub which turned out to be the venue for this event. I like Stirchley, and have been touting it as ‘the next Moseley’ for about eight years, so it was good to venture there with some good friends.

Once again, lyrics sheets for these classic rock ‘n’ roll anthems were distributed around the yard, singing along being encouraged. The songs for this gig danced around the decades, and seem thematically well sequenced:

  • Live and Let Die (by Wings) – the most rock and roll of all the Bond themes
  • Vertigo (by U2)
  • Are you gonna go my way (Kravitz) – as we discussed last week: ubiquitous, but fun and gutsy
  • You really got me (the Kinks; XOM add a note that they’re essentially doing the Van Halen verison
  • Just (Radiohead): written by Thom Yorke, supposedly about ‘a narcissistic friend’ (we’ve all been there), and apparently a competitive bid by Yorke to ‘fit the most chords into a song’)
  • Whole lot of Rosie (ACDC): I always enjoy a bit of AC/DC
  • Jump (van Halen)
  • Smoke on the Water (Deep Purple) – lovely tune,really good to hear this one
  • Another Brick in the Wall p2 (Pink Floyd)

Intermission

  • We will Rock You (Queen)
  • We Are the Champions (Queen)
  • Here I go again on my Own (Whitesnake) – last week I noted the interesting history of this song. Originally recorded in 1982, there’s the line ‘like a hobo I was born to walk alone’, but this was later changed to ‘drifter’ in the 1987 version, apparently to avoid the word being misheard as ‘homo’. I thought this was a terribly interesting moment of queer history, and wonder what it would be like to, as it were, reinsert the hobo into the lyric.
  • Don’t stop Believing (Journey)
  • Final Countdown (by Europe), a song which I suppose can’t be avoided in current political circumstances
  • Champagne Supernova (Oasis)
  • Smells like Teen Spirit (Nirvana)
  • With a little help from my Friends (The Beatles/Joe Cocker version) – Joe Cocker
  • Living on a Prayer – Bon Jovi
  • Bohemian Rhapsody (Queen) the third Queen number of the set, this again rather ubiquitous number has in some ways been a victim of it’s own success, its passage into jokey culture maybe masking something of how innovative and special it really is. One wonders, idly, what more could be done with this song.
  • Wish you were Here (Pink Floyd) – always good to hear
  • Here it is Merry Christmas (Slade)
  • Do they know it’s Christmas (Band Aid)

The band performed with their usual energy and passion. Once again, as Gary performed his vocal and keyboard duties, Jon Sandilands encouraged us to sing, Banks and Smalls on the rhythm section keeping us in time.

Ace rhythm guitarist Iain Davies, I believe the latest addition to the band, emerged somewhat into the light. Jon introduced him in his capacity as a vocalist, and as someone with more to contribute to the band. To be honest he seemed a little unsure of himself, but he acquitted himself with skill and grace, and this reviewer always appreciates a Monty Python reference.

Since this gig fell on Winter Solstice Eve, Solstice Bells by Jethro Tull, in contrast to either the Slade or Band Aid numbers, would have delighted me. As it was, that Geldof/Ure charity smash ‘Do They Know It’s Christmas’ sounded the clanging chimes of doom, or possibly last orders, and by this point however I don’t think anybody cared whether it was Christmas or not, let alone whether people in Africa were aware of it, or the possibility of snow in that rather large and varied continent.

XOM’s custom of reprising a song from the set, as an encore chosen by audience voice speaks to that great sense of participation that marks XOM out from the crowd. The popular vote, Live and Let Die by Wings, rounded off Solstice Eve with a flourish. Jon said it was a strange encore, and now I come to think of it there did seem to be a rather charged atmosphere, as the very sun came to the beginning of that three day standstill, nights at their very longest before the creeping dawn of Christmas Day.

Ring out, ye solstice bells. I emerged from the gig energised and ready to take on Christmas. I found it a lovely way to spend Solstice Eve, and choir the following day was all the sweeter for it.