Christmas Links #14
Christmas Links #13:
World Cinema in the Radio Times
Christmas Links #12
Christmas Links #11
"This year’s most-wanted ornaments include weight-loss syringes and favourite foodstuffs. When and why did Christmas trees become so commercialised?"
Christmas Links #10:
Doctor Who at Christmas.
The First Doctor
The Sixth Doctor
The Eighth Doctor
The Ninth Doctor
The Tenth Doctor
The Eleventh Doctor
The Twelfth Doctor
Spin-Offs
Christmas Links #9
Christmas Links #8
Christmas Links #7
Christmas Links #6
Christmas Links #5
Christmas Links #4
Christmas Links #3
Christmas Links #2
Christmas Links #1
Deadly Strangers.
Audio Hello. We'll get to the one(ish) line reviews in a moment but your writer has been trying to get to grips with what we're supposed to consider series or lines at Big Finish in recent years. Here follows a rant about numbers. The Eighth Doctor Adventures are now covering three distinct eras: the gap between Seasons One and Two of the original Monthly releases, the continuation of the story thread which began with the Lucie Miller adventures, continued through Dark Eyes and the Time War. Except the spine labels on the boxes flow between the first and second eras and even then without really making much sense.
Here's a rundown (which could be a list but I don't want to mess up the blog's formatting). They begin with the stand-alone Liv and Helen stories apparently set in the final moments of Stranded (between the TARDIS leaving and returning), What Lies Inside? (1) and Connections (2). But then there isn't a new sequence for the new strand of Audacity and Charley stories. Audacity and In the Bleak Midwinter are given (3) & (4) presumably because they share the same release months as the previous boxes. But then Echoes (more Liv and Helen) which came out the following May is (5) and finally Deadly Strangers and Causeway are (6) and (7).
All of which means if you want to keep the boxsets in continuity on your shelf, you're left with a number sequence which is all over the place and equally, if you stick to this number, the Doctor's portrait on the top shifts between TV Movie and Dark Eyes faces. Us Doctor Who fans (and U.S. Doctor Who fans) are quite used to spines on media releases not matching (apart from the BD releases so far which still sport the Whittaker logo despite us enjoying a whole new era in between) but this feels like a very weird choice, especially since they're being created by fans for fans.
Unless both strands are going to dovetail at some point. Despite the pictures on the box, I'm still not unconvinced that these stories aren't going to be revealed to be set after The Charlotte Pollard Adventures with Eighth and Charley reunited somehow. As I've said before, she sounds more mature and there's a moment in one of these stories where they talk about Ramsay the Vortisaur as though he's a distant memory which doesn't make sense given the context in which he's mentioned in the second original series. Something very strange is going on here.
Puccini and the Doctor
Which could just as easily have been called Unfinished Business since it's exactly that for both the Doctor and his writer for this adventure, Matthew Jacobs, who wrote the TV Movie with the Pertwee logo, oh so long ago. It's a celebrity historical in which the Time Lord meets the composer again before he's written some of his greatest operas and comes face to face with a creature who wants to steal and destroy humanity's creativity. Just astonishingly good. Jacobs had apparently only heard Chimes at Midnight before taking the gig, but caught himself up and then wrote this which despite using a similar method, AI never could.
Women's Day Off
Whilst highlighting a moment in women's history I shamefully wasn't previously aware of in which all of Iceland's women went on strike for a day in October 1975, McMullin's script plays not unlike something from The Sarah Jane Adventures as a young girl finds herself infused with magical powers which she can't control and the TARDIS team can only see disparate elements of the mystery in their own parts of the story until everything neatly dovetails at the end. Thoroughly entertaining, especially hearing the time ship's translation circuits giving Icelandics various UK regional accents rather than the actors affecting Nordic vowels.
The Gloaming
Almost as Route One Who as it gets, The Gloaming features an indomitable group of human survivors in suspended animation being threatened by an alien intelligence which is trying to spread itself across the galaxy. But in choosing the Mara, the writers have found the perfect monster for audio, especially the dream world which becomes two voices, one threatening, the other scared, voiced by the same actor demonstrating their range. Because the victim can't awaken without outside help, they're simply trapped there, the evil presence using their own anxieties against them. Chilling.
Placement: Between In The Bleak Midwinter and Invaders from Mars. For now.
Little Miss Can't Be Wrong.
Film The Guardian has a piece today about Kathryn Bigelow's A House of Dynamite in which Mike McCahill says various things about the film, but like a lot of critics he doesn't seem to have found the virtues I found in how the story is structured and particularly the climax, which I won't spoil for those of you who haven't had a chance to watch it amongst the firehouse of stuff released every day.
The number of film writers who've missed the point of A House of Dynamite are worryingly large. It's not a thriller, it's a character study. The repetition is the point. We're seeing the calamity through the lenses of much smaller and less knowledgeable groups as the decision on whether to retaliate ends up on the shoulders of someone who even less qualified than they are. At a basic level, don't give human beings world-ending weaponry. It's bad.
On each iteration we hear exposition and dialogue and then discover their significance as the narrative elements repeat. In the first couple of rounds, the President sounds Trumpian and incompetent. But when we finally meet him, he's an affable, smart person who is then handed the worst decision in the world at a moment's notice and has a series of near or total strangers advising him.
Which is utterly disturbing and in sharp relief to something like Fail Safe (both versions) and most of these kinds of films, in which almost all Presidents are portrayed as some kind of academic and diplomatic paragon in a fantasy world in which someone is elected based on how smart they are, which has *rarely* been the case. Unlike those films, the heads of state wouldn't immediately be on the phone with one another. The contact takes place way below the chain.
There's a terrific article in Slate by Fred Kaplan (ht, Allyn), a Pulitzer Prize nominated author of a book about just this subject which offers much greater depth on how realistic the film is and if anything it's even less terrifying than the situation we're in now when all of the key positions shown in the film are filled with people whose only qualification is they're willing to tell the President what he wants to hear all of the time.
But my overall point is that a lot of critics have missed that it isn't a traditional Clancyesque thriller. They've gone in expecting The Sum of All Fears or By Dawn's Early Light (which shares a similar story) and been disappointed. It's an "art house" film wearing the trappings of a mid-budget Summer blockbuster which asks the viewer to make a psychological leap beyond what they expect it to be into what it is.
Hall of the Ten Thousand (Big Finish Audio Short Trip)
Audio A neat bit of pure blood Eighth and Charley with the original theme, which at the time was pretty rare (2019), with India Fisher reading all the parts. Running just under forty minutes, it's a relatively complex story about the horrors of war and those who continue to live with the consequences. The TARDIS team visit a gallery to see one of the Doctor's favourite artists, who is pretty quickly revealed to be a megalomaniac who has destroyed thousands of lives because the righteousness of her ideology has become drowned out by her methods. This is Hidden Empire writer Jaine Fenn's only contribution to Doctor Who, yet she captures the two main characters perfectly, especially Charley, who has a fine moment when she uses some true/false logic straight out of Jim Henson's film Labyrinth.
Placement: Probably between seasons with the cluster of Short Trips.
7 Durham University Library
Books Durham University's First Folio is reputed to have almost the longest single ownership of all extant volumes. It was originally owned by the churchman John Cosin, who is thought to have bought it shortly after its publication around 1630. Exiled to France in 1644 for his loyalty to the monarchy, notably Charles I, Cosin's Folio was housed with his extensive book collection at Peterhouse, Cambridge. After the monarchy was restored in 1660, Cosin was made Bishop of Durham and built one of the country's earliest public libraries on the green near Durham Cathedral. In 1672, he bequeathed his collection, including the Folio, to the clergy of the diocese. It remained in the library—now called Cosin's Library—for centuries, until the collection was passed to Durham University in 1963.
Then, in 1998, the Folio was famously stolen. In 2010, the BBC made Stealing Shakespeare, a documentary about the affair narrated by David Tennant. In summary, an eccentric book dealer named Raymond Scott brought a First Folio to the Folger Shakespeare Library in Washington, D.C., for authentication, claiming he had acquired it in Cuba during a holiday with his girlfriend. Experts quickly identified it as the Durham Folio. When Scott returned to the UK, he was arrested and convicted of handling stolen goods, although authorities were unable to prove he was the original burglar. Scott unalived himself in prison two years later, maintaining his innocence to the end. However, an interview with a local newspaper, later quoted by The Guardian, suggested there was more to the story.
The Folio is currently on display at an exhibition in Cosin's Library that runs until the end of October. It's housed in a glass cabinet, allowing for a 360-degree view of the book, including its spine and back. Surrounding it are double-sided glass cases displaying pages that are still loose: the list of principal actors, the contents page, John Heminges and Henry Condell's introduction ("To the great Variety of Readers"), and odd pages from Cymbeline. Usually on these visits, the most I can see is whichever pages are on display and perhaps the binding, so this is a welcome change, even if the circumstances that led to it are grim. The university has also released a video offering an excellent view of the gorgeous Cosin's Library:
That video was almost the closest I was going to get to seeing the Folio. After hearing about the display, I booked an overnight trip to Durham from Sunday to Monday, planning to visit the cathedral on my arrival day (it had its own exhibition on the Magna Carta)(she did not die in vain) and see the Folio the next morning. Durham Cathedral is as gorgeous as its reputation suggests, and I especially recommend its museum. Apparently, it doesn't have the same footfall as the rest of the building, but it houses numerous important relics. These include the extraordinary wooden coffin of St Cuthbert; the saint himself, along with the Venerable Bede, is buried elsewhere in the cathedral in his own tomb. As a bonus, you can also see the spots where the Asgard scenes were filmed for Avengers: Endgame.
After finishing at the Cathedral on my first day, I realised the First Folio exhibition was nearby, so I decided to pop in to check the opening hours for Monday and see if I needed to book a space. The very helpful person at reception informed me that the library, and therefore the exhibition, were closed on Mondays, but that I had arrived just in time for the final entry of the day. In other words, if I hadn't happened to drop in, I would have travelled all the way to Durham for no reason—much like a recent, trip to London with its lack of various fruits. Fortunately, just this once, Rose, I was in the right place at the right time and was able to see the Durham University First Folio. It's one of the documents listed in my guide on this journey, The Shakespeare First Folios: A Descriptive Catalogue, and one that I thought was going to be among the most difficult to see.
Navigating Glastonbury 2025
Music Hope you're all enjoying Glastonbury this weekend, even from your armchair. After a similar posts proved popular in the last couple of years, I've decided to repeat the exercise for 2025. As I explained last year, the navigation of the various stages and sets on the BBC website isn't particularly ideal. Unlike the previous decade when the line-up was structured around stages, this year, everything is mostly just bunged in all together under different "genres".
This year, after shutting down the music pages, they haven't even bothered with a line-up and instead you're directed straight to the iPlayer, which doesn't matter exactly, but it's still a lot of effort to navigate especially because as usual it's sometimes difficult to see the difference between a broadcast highlights show and a full set. The list below will only have the full set unless there's no other choice.
So I've created a breakdown of Glastonbury by stage with links to these full sets - most of Friday is already there and I'll keep updating this over the next week checking in now and then. Most stages have every act apart from the first few. The links below should be valid for a month so you have until near the end of July to catch up. Obviously this is only helpful if you're watching things on a tablet or PC. You could always try casting them I suppose. Anyway, on with the show.
Pyramid Stage
Friday 27 June