The Railway Series at 80

Illustration of “Edward, Gordon and Henry” by William Middleton

Five years ago, for the seventy-fifth anniversary of The Three Railway Engines I came up with a poem based on Tolkien’s work adapted to be about the engines on Sodor.

Today is the eightieth anniversary of said book. I have pondered calling it 3-E Day, but doubt that would catch on. I would like to turn to verse again. This time, instead of adapting another poem, I have thought about what an anthem for the island might be. Truth be told, I don’t think The Island Song really works diagetically – it is too obviously written to be about a children’s television series. Instead here is something simpler: A variation on the royal hymn.

While the first verse of God Save The King! is almost universal across the realms and territories of the Commonwealth, there have often been custom extra verses with lyrics specific to the locality, albeit with many of the same core concepts (and indeed rhymes) cropping up in more than one place. This is my submission for the Sudrian stanza:

Our island is to me,
Homestead and sanctuary,
By Britain’s shore.
Bless this enchanted isle,
That years may ne’er defile.
Grant all Thy children smile,
For evermore!

 

It’s The Dunn Thing

Today I noticed that BBC Four has started airing the documentary series The Architecture the Railways Built, presented by historian Tim Dunn, and put the whole first season on iPlayer. This series was originally made five years ago for Yesterday, a UKTV channel technically owned by BBC Studios but run more like the commercial stations. This series was already watchable on UKTV’s own catch-up website and repackaged on at least two different licensed YouTube channels, but the lack of advertisements and all-around superior functionality of the BBC’s service will make iPlayer my preferred platform. This makes for a rare case of televisual upcycling in a partnership where downcycling is the norm, the most obvious locomotion-related example being Michael Portillo’s many Great Railway Journeys programs.

Each episode of TATRB is forty-five minutes long and typically covers three locations, two in the United Kingdom and one abroad. No obvious connection is made between the three, so I’ve often been left feeling that it would be better if the three locations chosen were grouped by geographic region, architectural style or railway feature. Alternatively, they could be split up so that each location had a fifteen-minute episode to itself.

In addition to broadcast television, Dunn has made regular appearances in railway-related online channels, including several times presenting Sudrian pseudohistorical lectures hosted by the Talyllyn Railway.

Joy to the Web, the Lords Have Come

To commemorate the fortieth anniversary of the broadcasting of proceedings from the chamber of the House of Lords, that house’s YouTube channel has uploaded a series of lengthy extracts from said first broadcast – Wednesday, 23rd January 1985.

Said day is noteworthy for including the maiden speech of the 1st Earl of Stockton, aged 90.

Truth be told I had seen some of these clips years earlier – including Stockton’s speech – as they were uploaded by the amateur channel Coljax Parliament. I assume these were originally recorded with a home VHS system from the live television broadcast. Still, it is nice to have these on the official channel. I hope that this is not a one-off and that Parliament will take to uploading more of its old archive footage, since ParliamentLive.TV only goes back to 2007 and footage earlier than that is restricted to what can be found on British Pathé or C-SPAN.

As the press release notes, Parliamentary cameras are now remotely operated and, while picture quality isn’t perfect, the colours and lighting tend to be reasonably well balanced. The early footage had the camera operators just behind the bar of the house, operating manually. This makes for better angles and movement (I daresay it looks almost cinematic, rather than like CCTV footage.) but there is an awful lot of Black Crush between peers’ jackets and the background shadows. I had originally thought this to be a result of compression and degradation in Coljax’s tapes, but it now seems it was like that in the master footage too, which is a pity.

Turning Back the Clock

Yesterday the Presidency of the United States of America changed hands for the third time in eight years. Certain of the modern innovations, such as the changing of the websites, are now feeling routine. This time, at least, Trump seemed to have a whole new website design ready, in contrast to his first term in which he reused the template from Obama’s for the first year and a half. I note that “trumpwhitehouse” is still used as the name for the archived site (and social media accounts) from his first term. It remains to be seen how the new ones will be archived come 2029.

The 2017 inauguration ceremony played out in essentially the standard format, albeit sullied a little in retrospect by the 45th President’s bizarre assertions about the size of his crowd relative to the 44th’s. It might have been feared that such statistics might become a subject of long-running competition and controversy, but by chance they have been inapplicable to the inaugurations of both 2021 and 2025 for opposite reasons: Biden’s inauguration was still held on the steps of the capitol but had the few attendees spread far apart and no public audience at all due to a combination of hygiene measures for the ongoing pandemic and security restrictions following the recent riots. Trump’s readeption, but contrast, was moved indoors and had hundreds of guests packed like sardines due to the extreme low temperatures.

Another important distinction is that the outgoing leader attended the event and recognised his successor – despite there being no favour to return in that regard.

I was also a little confused by the timing – the transition of power takes effect at noon (translating to 5pm in British time). This is observed to the second in terms of websites, but the ceremony itself pays little heed. I recall that in the inaugurations of 2017 and 2021 the President-elect finished taking the oath and began making speeches from behind the lectern several minutes before his predecessor’s term had actually ended. This time noon struck slightly before the new incumbents took their oaths. It was a little ironic that Vance’s promise referred to “the office on which I am about to enter” even though looking at the clock he had already entered it about forty seconds prior.

The ceremony included a performance of Battle Hymn of the Republic. Some may say that Dixie would be more appropriate given the cultural alignment of so many of Trump’s supporters. I thought that the singing style of this particular arrangement sounded a bit Russian, though it probably wasn’t a deliberate allusion this time.

One of the less overtly-political joys of new presidencies is the redecoration of the oval office, akin to the unveiling of a new Starfleet bridge or TARDIS console room. I know of no phenomenon remotely equivalent in any other country. In this case there was little cause for excitement as the 47th President’s office is back to looking almost exactly as it did for the 45th. It helps, of course, that the 46th didn’t change the drapes or the wallpaper in between. Presidential transitions also seem to be developing tetrennial tradition of moving the bust of Winston Churchill from one part of the White House so that Nicholas Soames can be interviewed about the Special Relationship, thus providing certain newspapers on both sides of the Atlantic with editorial material for the next few days.

Note on the Decease of Britt Allcroft

Hilary Mary Allcroft, commonly known as Britt, was the television producer and director responsible for turning The Railway Series into Thomas the Tank Engine & Friends. She was at the helm of the franchise from 1984 to 2003, overseeing its first seven series and the film Thomas & the Magic Railroad. She also created the companion series Shining Time Station for the American market and in early years was part of the production team for Blue Peter.

Directly or indirectly, to this day she remains a commanding influence in the childhoods of many millions in the United Kingdom and around the world. Though no longer in charge of the franchise for more than twenty years she remained a grandee until her death and – however controversial some of her adaptation decisions may have been – her presence was much appreciated by the surrounding community.

Her death occurred on Christmas Day, but was not made public until today. Her family arranged for the first announcement of her demise – preceding any newspapersto be given by the filmmaker Brannon Carty, in whose documentary An Unlikely Fandom she had recently appeared.

I was not aware of the death of director David Mitton when it happened, nor even born yet when Wilbert Awdry himself passed away. I hope it will be many years before his son Christopher dies.

Farewell Britt, your presents were much appreciated.

UPDATE (4th January)

The aforementioned Brannon Carty has also uploaded his interview with BBC Radio 5.

Public Domain Day 2025

As another December concludes, another batch of books, films, songs and paintings goes out of copyright.

This year’s categories are works in Britain (and countries with similar laws) the last of whose authors died in 1954, and works from the United States which were first published in 1929.

Last year the jewel of the public domain crown was Steamboat Willie, the first film to feature Mickey & Minnie Mouse. This year it is The Karnival Kid, the first film in which the mouse speaks. Also in the 1929 United States category are the first Marx Brothers film The Cocoanauts and the final Buster Keaton film Spite Marriage. Sherlock Holmes and Fu Manchu also make their first appearances in sound films.

Annoyingly there are some noteworthy works from that year originating outside the United States, which are now public domain there but will remain copyrighted in their home countries for some decades, such as Sir Alfred Hitchcock’s Blackmail and Hergé’s early Tintin cartoons. We do, however, get the first cartoons of Popeye the Sailor Man and Tarzan. We also get the surprisingly-old song Singin’ in the Rain.

Relatively few prominent British authors entered the public domain this year, the most recognisable ones being James Hilton and Francis Brett Young. Also dying that year was the computer scientist Alan Turing, whose most famous publication was his namesake mathematical proof. Of course, many of these works will conversely not be public domain in the United States, so their proliferation over the internet will still be limited.

The Blackadder Order of Precedence

The New Year Honours for 2025 have been released, and they include the appointment of former QI host Stephen Fry as a knight bachelor.

I thought fit to compile a tracker for where each major actor in the Blackadder franchise now stands within the British honours system:


Sir Tony Robinson (Baldrick)

Knight Bachelor, 15th June 2013 (Queen’s Birthday), for public and political service.


Sir Stephen Fry (Melchett)

Knight Bachelor, 30th December 2024 (New Year), for services to Mental Health Awareness, the Environment and Charity.


Richard Curtis (Writer)

Commander of the Order of the British Empire, I can’t find the date or cause.


Howard Goodall (Composer)

Commander of the Order of the British Empire, 31st December 2010 (New Year), for services to music education.


Hugh Laurie (George)

Commander of the Order of the British Empire, 30th December 2017 (New Year), for services to drama.


Miriam Margolyes (Maria Escalosa/Whiteadder/Victoria)

Officer of the Order of the British Empire, 31st December 2001 (New Year), for services to drama.


Robbie Coltrane (Johnson)

Officer of the Order of the British Empire, 31st December 2005 (New Year), for services to drama.


Brian Blessed (Richard IV)

Officer of the Order of the British Empire, 10th June 2016 (Queen’s Birthday), for services to the arts and charity.

Ben Elton (Writer)

Member of the Order of Australia, 11th June 2023 (King’s Birthday), for significant service to the entertainment industry as a comedian, actor, writer and director.


Tom Baker (Redbeard)

Member of the Order of the British Empire, 30th December 2024 (New Year), for services to television.


So far Tim McInerny (Percy/Darling) and Miranda Richardson (Queenie/Amy) are still without anything from the fons honorum. Rik Mayall (Flasheart), Patsy Byrne (Nursie) and Peter Cook (Richard III) all went to the grave unadorned.

Second Look at Royal Variety

Three weeks after its recording, the Royal Variety Performance for 2024 has been broadcast. I have also found on the charity’s website some publicity stills from the event along with the official brochure.

The brochure contains a great deal of heraldic illustration, much of which is clearly of Sodacan origin. The artistic schizophrenia is evident even from the front cover, which prominently displays a full-colour Sodacan version of the royal arms with the Tudor crown while also having in the header a monochrome outline (similar to that on royal.uk) of the St Edward crown version as part of the Royal Variety Performance logo. Throughout the brochure the latter is included as part of the page header while the former is repeated many times as a main-body illustration. More curious is that in the borders of several pages another obvious Wikimedia graphic is seen – the coat of arms of the Prince of Wales. Quite why that one was used I am not sure, especially as Charles stopped using it upon his accession and it has yet to be conclusively shown that William now does so. The outline version also appears as the background pattern to some of the pages themselves. To make things even more confusion two more expressions of the royal arms appear in the brochure – in the letterhead of a message from Buckingham Palace on page 7 in the royal warrant part of the advertisement for Mikhail Pietranek Interior Furnishing and Design on page 65.

A quick glance at the brochures for past installments of the performance makes clear – even just from the front covers – that this armorial smorgasbord has been in effect for some time.

As far as the performance itself is concerned, I do not intend to write a detailed review. The one part I deem relevant to the ongoing themes of this blog is the section on the Lord Lloyd-Webber’s famous musical drama Starlight Express:

After the play’s own professional actors had done their carefully-choreographed routine, the night’s host Alan Carr came on for a comedy coda of sorts, wearing a much simpler steam engine costume and clearly much less steady on his feet. Lloyd-Webber himself was on stage at this point. Carr’s entrance was accompanied by the original Thomas & Friends theme tune. I found this amusing for two reasons:

  1. That theme debuted when the series began forty years ago, but then was replaced in Hit Entertainment’s retool of the franchise twenty years ago. Even though the theme has been out of use now for as long as it was in, it still achieves far greater cross-generational recognition than do any of its successors.
  2. Britt Allcroft’s 1984 production was not the first attempt at adapting Awdry’s books for television – Lloyd Webber had approached the vicar a whole decade earlier with his own pitch and had produced a pilot episode for Granada by 1976, but the studio declined to put it into production. This disappointment was the reason he made Starlight Express in the first place!

 

That Harrison & Graham Sound

Exactly when I first saw Peep Show has slipped from memory. I recall watching New Year’s Eve when it was reasonably new, and also remember parts of Mugging from slightly earlier. I binged the whole of the first seven series on 4oD at some point before the end of 2012, and then watched the final two series as they came out.

My experience with Podcast Secrets of the Pharaohs is even more retroactive – it ended two months ago, and I only came across it last week. Blasting through the lot was made more difficult by the podcast episodes being three or four times the length of their televised counterparts, but also easier by being audio-only, so they could be played as the background to something else.

In some ways it is remarkable that a program which ended over six years ago continues to amass a dedicated following, and that so many lines from it have permeated popular discourse.

Tom & Rob’s commentary is at least as good as that by McNeil and Wang for Voyager, the main differences being that they come from one generation lower and they were not insiders when the series they are reviewing was on air. The lower-concept setting also allows that hosts to compare the events of Peep Show to their own lives. As an aside, it always strikes me as a little strange when the hosts of these kinds of review-tainment programs, whose demeanour is otherwise hintless as to age, start going on about their partners or even children. Of course, neither of them ever had to eat a partly-cremated dog, nor wrestle a burglar to the ground while hosting a dinner party, so there are limits to their personal experience. What struck me most was when they wanted to give advice to the characters, comparing the events of the episodes against merely what their own lives had been, but a surprisingly certain and definite idea of how everyone’s life at various stages is and should be.

In addition to episodic analysis, the podcast also features interviews of nearly all the significant cast members, going into great detail about their experiences with the series and their views on the characters they played.

EXTERNAL LINKS

  • Andrxxw – a YouTuber who also reviewed Peep Show in its entirety, albeit in much briefer form.
  • The Peep Show Reviews Blog – a similar review series in textual format, though it was abandoned after just four series.

The Archives Arrive

The BBC Archive YouTube channel claims to have existed since 2018, but their videos only go back three months. I discovered them just yesterday. My favourite thus far is an interview with J. R. R. Tolkien explaining the writing of The Lord of the Rings. Also featured is the Shildon steam celebration of 1975, which includes an interview with Wilbert Awdry (strangely called “William” in the voiceover), and at least two short documentaries about the making of Classic Doctor Who.

It’s too early yet to know just how many videos this channel will post. If it’s anything like British Pathé I will be greatly impressed.