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.

Cold Starting the Carr

Throughout the past two years I have been a regular viewer of Jimmy Carr’s YouTube channel. He has uploaded many full-length videos of his old standup specials, as well as dozens of shorter compilation videos. He even did a quiz to entertain those trapped in lockdown, although this content has subsequently faded from prominence, condensed into a few large weekly compilations.

Late last year, he announced that after getting by for so long by endlessly rehashing old material, he was finally releasing a new show, albeit not on YouTube. His Dark Material premiered on Christmas Day.

There are two segments which focus on the events of the past two years, but these are relatively brief and the majority of the material is interchangeable with what one comes to expect from all his other concerts – I even caught a few classic lines being reused.

His earlier shows primarily used a static multi-camera format, with occasional panning to keep up with him as he walks about the stage or to focus on a heckling audience member. His later output features much greater use of swooping shots from behind while he’s standing still, as well as over the audience. This can be a little surreal at times, giving the impression that one is watching a film (perhaps a biopic) rather than a live event. It also, unfortunately, highlights the increasing sagginess of Carr’s face.

A consequence of watching so many compilations of much older material is that one develops a mental cache of a celebrity’s face, hair, voice and mannerisms that averages out as being a few years into the past, which then makes it a shock to see how they’ve changed when new material finally arrives. The problem is exacerbated if the “new” material is actually delayed for a long time. I have discussed this before in relation to ‘Cats Does Countdown: Throughout 2020 and into 2021 the programming still consisted wholly of holdovers from 2019, and it was quite jarring when post-COVID footage (only four episodes so far) finally arrived showing Sean Lock‘s deathly pallor, Katherine Ryan’s increased girth and, of course, Carr’s hair transplant (which he got after the Lockdown quiz and laughs at in this special).

Later in the special Carr pondered the passing of the ages in a different way – by lecturing to the younger members of the audience about how social interaction, telephony and taxi rides used to work in the 1990s. Here I must digress into a rant about a common trend I have witnessed among comedians and other social commentators – premature declarations of obsolescence. As someone born in the cusp of generations Y and Z (sometimes called a “Zillennial”), I will say for the record that well into the noughties I was playing and recording cassettes and VHS tapes (many of which I still have). I also operated fax machines a few times and stored some school projects on diskettes. Even restricting to the past five years I have regularly sent and received paper letters (both typed and handwritten), paid for things in cash, driven a car with hand-wound rear windows and made calls on public payphones. On at least two occasions I have ridden on trains pulled by steam locomotives. The notion pushed by so many talking heads that all of these things are entirely alien to anyone born after about 1995 has never quite rung true to me.

One Last Ride

I have mentioned before my delight at finding old documentaries uploaded for free on YouTube. One which has stuck with me for a long time is episode 10 of Monster Moves, in which a South African Class 15F tender engine is rescued from a breaker’s yard in Bloemfontein and returned to its birthplace in Glasgow.

As expected from this sort of program, every setback is milked for the drama. First, the lorry meant to move the engine to Durban turns out to be too small, so it has to be towed on rails by a diesel engine. Then the wheels all have to be re-lubricated so they don’t catch fire, then ten empty flatbeds have to be hauled behind for breaking capability, then the line is blocked by a stalled lorry, then the diesel breaks down just shy of the dock, then the ferry is diverted, then a giant floating crane is needed to lift the 100 tonnes aboard, then after arriving in Immingham another giant crane is needed to lift it off again, then the lorry trailer has to be redesigned for the narrower track gauge, then the load might be too high to get under British motorway bridges, then the long trailer struggles to navigate Glasgow’s tight corners. All of this is accompanied by a gloriously over-the-top orchestral Western song.

No. 3007 now resides at the Riverside Museum. It is a little disheartening to think that she can never actually run again – her track gauge being too narrow and her loading gauge too wide – and that the other old locomotives at the same depot probably won’t be saved. Many in the comments section also allege that South Africa’s rail infrastructure has deteriorated severely since 2006 and been hit by widespread looting during lockdown. All this makes the film’s ending a little bittersweet.

This was not the only rail-centric episode of the series – they also covered the relocation of two Gresley A4s from North America to York and the retrieval of two Stanier 8Fs from Turkey.

The Nearest Exit

One of the most iconic components of election night in the United Kingdom is the 10pm exit poll. There will have been a heavy outpouring of regular polls, predictions and projections throughout the campaign, but the beauty of the exit poll is that instead of asking people what they intend to do it asks what they already did – all uncertainty thus being removed. The mood of political parties regarding their relative fortunes, the emotional state of all watching and the entire political narrative can be one way throughout the whole campaign and then change dramatically into something entirely different as soon as the bongs sound. The most prominent examples are 2015 – where it was widely predicted that the Conservatives would sink to around 290 seats and be level pegging with Labour, only to find that they’d actually gone up – and 2017 – where Theresa May had long expected to win by a landslide, but actually lost her majority.

Only a very small section of the people are surveyed – in the 2010 example Dimbleby said one hundred and thirty polling places, or one for every five parliamentary constituencies. The statisticians in charge of the polling companies are razor sharp in finding exactly the right places from which to check the political temperature. This makes it all the more remarkable that the polls’ predictions are so close to reality. Despite the protestations of the talking heads that “it’s too early to call” and Dimbleby’s own quip that “if it was dead accurate there’d be no need for anybody to go and vote”, generally the numbers shown are not far from the real ones.

To make the lead graphic, I skimmed through the coverage of the six UK general elections that have taken place in my lifetime, and compiled a spreadsheet of the seat totals projected for the two main parties as well as the actual numbers of seats won by those parties. The graph shows how much either party was under- or overestimated each time. The 2010 poll was nearly spot-on, with the Conservative figure exactly right and the Labour only three too low. The worst inaccuracy was the Conservative figure for 2015, and indeed this was the only occasion in this millennium where the overall result was mispredicted (it was a small Conservative majority rather than a hung parliament).

FURTHER READING

Exit polling explained – University of Warwick