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Horror at the Edinburgh Christmas Market

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In the dead-zone between Christmas and New Year I took a trip to Edinburgh’s Christmas Market, which proved to be both absolutely great and utterly terrible at the same time. I went with my two kids, 5 and 3, and my friend and his two kids, 6 and 4. We’ll call my friend ‘Iain’, mainly because that’s his name. Our kids have names, too. I promise we haven’t just assigned them numbers.

Regular readers will know that my two are called Jack and Christopher. Iain’s kids are called Girl Child and Boy Child.

The train ride into the city was surprisingly stress-free considering that we were two hapless fathers herding four excitable, potentially unruly children into a claustrophobic environment crammed with disapproving strangers for thirty long minutes. For some reason that bit was fine. It was the arriving that reeked of failure, and that was entirely down to the tardiness of our initial departure.

We’d arrived at our home station with mere seconds to spare, so weren’t able to buy tickets prior to boarding. The six of us had had to sprint towards the train like something out of Home Alone, and then dash through the rapidly closing doors like something out of Indiana Jones. There were no ticket collectors/dispensers on-board the train, so we had to queue to buy them at Edinburgh before we could pass through the barriers.

We were slow to realise why everyone else disembarking the train was moving so quickly up the platform – the queue-savvy sons-of-bitches – and so found ourselves at the very back of the ticket-line.

Iain detests the traditional ticketing system. He prefers to deal with automata, which is why he spent the whole duration of our time in the queue frantically trying to buy digital tickets through an app on his phone. He failed. We reached the front before he mastered it. If it had been the Crystal Maze, he would’ve been left behind in the Train Zone as we went on to collect bits of shiny paper in the Crystal Dome.

I don’t know exactly why Iain hates tickets so much. It’s something to do with feeling beholden; of having to bow down for inspection to a haughty stranger. I think he just doesn’t like talking to people, something to which I can definitely relate.

We ascended into Edinburgh proper, fighting our way through a teeming crowd of thousands.

Edinburgh’s Christmas market stretches across two levels of Princess Street Gardens, with a giant, blindingly-bright Big Wheel dominating the event and the city skyline. This year it was crushingly busy and bustling, a clog of people being pushed up, down and along thin arteries flanked by coffee houses, portable pubs and assorted trinket-hawkers. The air – cold and sharp – smelled of irritation and fried onions; alive to boot with the sounds of a thousand ‘excuse me’s’ intermingling with the same six or seven Christmas songs everyone had been listening to on a loop for a solid month already. I haven’t visited the Xmas market since I was about 23, but I don’t ever remember it being this hectic, this brazenly commercialised, this soulless. The kids didn’t give a shit, though. The city was loud and colourful, there were chocolate-covered churros, and there was a mini-rollercoaster. What more could they want?

Iain was overjoyed to learn that we had to pre-purchase a big wad of tickets before the kids could go on any of the fairground rides. He again tried to enlist me in his one-man war against ticket inspections, but I just couldn’t share his anger. Normally I’m something of an anger connoisseur. I get angry over a great many inconsequential and pointless things, and I felt sad that I couldn’t add this one to the collection.

The big, bespectacled lady at the ticket desk asked Iain if he lived in an EH postcode area (i.e. within Edinburgh or its immediate environs). He said no. Because he doesn’t.

‘That’s a shame,’ she said, ‘You would’ve got a 10 per cent discount if you did.’

Iain didn’t miss a beat. ‘I don’t, but he does,’ he said, pointing a thumb back at me.

This was Iain’s chance to stick it to the man, and he was enlisting my help. His old friend wouldn’t let him down. Whom else could he count on in his hour of need?

‘No I don’t,’ I said.

Iain looked at me with disappoint in his eyes, while the ticket lady, in turn, looked at Iain with disappointment in hers. She looked visibly wounded, like her tenuous grip on hope had been wrested from her hands and cast to the gutter by Iain’s treachery. I just sort of laughed, and unashamedly bought my full-price tickets.

‘What did you do that for?’ asked Iain, unable to conceal how miffed he was. I explained that I had a vision of the future, the immediate future, and it was one in which I looked like a complete twat

The woman’s next question, I explained, undoubtedly would’ve been: ‘Oh, so what’s your post code?’ and I would’ve been forced to stutter out something like, ‘ah, E…H… 1… em, 1… 1…. em, 1?’

And she would’ve said: ‘And what street is that?’

And I would’ve said: ‘Em, I think it’s Street… Avenue?…’

‘Are you sure that’s a real street, sir?’ she would’ve asked.

And I would’ve said: ‘Em…could be Crescent… Place?’

‘Crescent Place? Sounds fake to me, sir.’

‘I LIVE IN A FUCKING BIN, OKAY? BEHIND A TOILET.’

So it’s lucky I avoided that, really.

The kids first went on the mini roller-coaster. I think it always helps when you’re trying to promote an atmosphere of happiness and magic for wide-eyed, excited children to have your fairground rides staffed by dead-eyed teenagers who look like they wouldn’t even blink if the ride suddenly derailed, sending your children catapulting into the night sky at 180mph.

We spent an hour or so at the market, going on some more rides with the kids; treating them to the rickety, rocket-shaped death-trap that was the Helter Skelter; feeding them chocolate; trying to get them to stop running in circles like dogs on a beach. Eventually, time took its toll on their manic dispositions and we realised it was time to head home, via McDonalds, naturally, because we’re bad parents.

We thought about going on the big wheel, but thought better of it when we realised it would cost us about £25 each. That’s a lot of money for the kids to decide they were bored after half a revolution, or for the younger kids to violently shit themselves at 100ft.

We made our way to the McDonalds inside the food court in the busy shopping mall that borders Waverley train station for the last – and the worst – leg of our journey. Horror awaited us. Great streams and chunks of it.

I scouted for a table and chairs in the busy food-court with my two boys and Iain’s Girl Child while he went into McDonalds with his little Boy Child to order the food. We hadn’t been sitting for thirty seconds when little Christopher announced that he needed a pee, elongating the vowels so the word lasted almost as long as an actual peeeeeeeeeeeeeeeeeeeee.

What the hell was I going to do? Iain was lost in a crowd of people inside McDonalds. I had a unisex group of kids in my care, only two of them mine, so it wasn’t practical to take all of them to the male toilet with me at once. The clock was ticking: Christopher wasn’t renowned for his ball-control. The wife from a couple sitting at the table next to us with their two kids overheard my dilemma and offered to keep an eye on two of the kids so I could whisk Chrissy off for a pissy. I thanked her, but politely declined. Tick tock. I had to make a snap decision. Off we went. All of us. Not ideal, but necessary.

I led the kids around the lower level of the mall as we hunted for the toilets, keeping them close to me and tight together like a comet’s tail lest they get swallowed up by the throng of people. We eventually found the toilets, but the queue leading up to the turnstiles that you had to pass through before you even got a shot at relieving yourself was about 18 people strong, and I didn’t have that kind of time.

I hurried and herded the kids back to the table, hoping Iain’s journey into the dark heart of McDonalds would be completed. It wasn’t. What was I going to do now? Chris kept shuffling, jiggling and loudly complaining. I spied the main doors that led out of the mall and joined with the stone steps outside. Ah-HA! All being well – if I could find a place out there for a surreptitious piss – I’d be back at the table in less than a minute.

‘I’m sorry,’ I said to the couple from earlier. ‘Would you be kind enough to watch these two after all?’

‘Stay still, don’t talk, don’t move,’ I said to Jack and Girl Child.

I lifted Christopher up under his arms and rushed him towards the sliding doors like a bomb. Once outside we dashed dead ahead into an alcove where Chris unleashed a long, flowing piss you wouldn’t have credited to a creature of his size; back we dashed and waddled, just in time for a young goth at the table behind us – who’d been sitting with her head on a table receiving worried back rubs from her friends for the past ten minutes – to projectile vomit everywhere. I saw it cascading from her mouth and through her hands like potatoey Vimto, an image that stayed with me for the rest of the day (and haunts me even now). Iain arrived seconds later with our food, and we had to wolf it down with the sharp tang of vomit still lingering in the air.

As we began to eat, Iain’s Girl Child loudly announced that she needed the toilet. Off Iain went, back he came and then, yep, this time Jack needed a poo. Off I went, back I came, and then Iain’s Boy Child had to go. No sooner had they left than Chris announced that he was desperate for yet another peeeeeeeeeee. Why was this happening to me?

Here I had the same dilemma again, and the same split of kids. Emboldened by my earlier success, I bomb-waddled Chris out of the mall’s sliding doors (‘Stay there, kids, and don’t move, okay?’) and back to the same reservoir of piss from before, still wet and plentiful, so he could add more to it. I rushed back, Iain returned and then, guess what?

‘Daddy, I need a pooooooo!’

‘Fuck sake!’ I barked, unable to stop the swear word from leaping out my throat.

Iain grinned. ‘I’ll be honest, the only thing that’s making this more bearable for me is seeing how awful it is for you.’

I laughed. ‘I’m glad to be of service.’

We finally got out of there and boarded our return train, where yet another round of pee-pees sent me up and down the carriage like an angry kangaroo. Iain found this, and my exasperated reactions, a continuing source of amusement. I silently wished for a ticket collector to come along the carriage and re-kindle his rage.

It had been a good day.

…most of it anyway.

But we both agreed that for now, and possibly forever, Christmas could definitely, absolutely, incontrovertibly…

…piss off.

Christmas: A One-Star Review

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If the Christmas season was an Amazon product I’d give it four stars. Not because it’s all that good, but because I’m nice, you see. I wouldn’t want to hurt Christmas’s feelings.

If the Christmas season was a place of interest, or a restaurant or something, I’d give it four stars on Trip Advisor, and I’d probably write something like, ‘Loved the bit where the little people opened the presents and smiled, and couldn’t fault the bit where everybody ate the bitter-tasting green Maltesers and the dead bird with Bovril poured all over it, but if I’ve any mild criticism to offer – and it seems churlish even to mention it – and, really, it’s very, very mild criticism indeed – mild as an Amish curry – it’s that for well over ninety per cent of that small handful of festive weeks I felt like I wanted to raid a private scorpion breeder’s aquarium and stab myself to death with their collection, and then run over a cliff onto a field of landmines screaming, ‘Why? WHY won’t you JUST let me DIE, God?’

‘Apart from that though… excellent.’

The kids were fuelled by a cocktail of excitement and chocolate, making them psychotic whirling scarecrows of tears, screams and laughter, their behaviour made all the worse by them being unbound from routine and purpose. We tried to take them out and about, and occupy their time as much as possible, but bad weather, worse finances and a dearth of places to go in the middle of a winter holiday didn’t make that easy. If they weren’t fighting over each other’s new toys, they were fighting over each other’s old toys; sometimes they just fought because of muscle memory. Separately they were fine, angelic even, and together they could be wurlitzers of warmth and unity, but most of the time they squabbled like pigeons on meth, pecking at each other over the smallest of injustices and infractions. ‘I WANTED THE BLUE SPOON!’ ‘THAT’S MY ONE!’ ‘BUT I ALWAYS HAVE THE BLUE ONE!’ ‘IT’S MINE!’ ‘YOU’RE NAUGHTY!’ ‘I’M NOT NAUGHTY, YOU’RE NAUGHTY!’

Standing there amid the screams and recriminations, I could feel my blood pressure rising like a thermometer inside the sun’s arse. Even on otherwise tranquil trips away, the ghost of Stressmas was never too far from my heart. I took our eldest, 5, to the local country park so we could don our wellies on, trudge through the mud and shout borderline abuse at farm animals, but on the road there some geriatric jerk-off in a gleaming BMW decided to dangerously tailgate me in the rain and wet on a dangerous stretch of road, with my little boy buckled helplessly into the site of impact like a tiny Crash Test Dummy.

In my usual calm manner, I gesticulated wildly and hammered the horn, calling him a murderer and a few other choice names besides, before totally losing it and punching the rear-view mirror off its perch and down onto the floor. The old man gunned his engine and revved past me at high speed, staring straight ahead to avoid my furious glare, which begs the question: why was he tailgating me in the first place? Anyway, I wasn’t proud of my little outburst, and I apologised to the boy for losing my temper, telling him that big people made mistakes sometimes, too. I asked if we could keep this little outburst between the two of us so I’d have time to replace the cracked glass in the mirror, so naturally he grassed me up to his mum the next time he had a chance. I guess I’m proud. I’ve taught him well by instruction, if not always by example.

The festive season had genuine highlights, of course, with Christmas Day being the obvious top dog. What’s not to love? Looks of surprise, delight and gratitude on our children’s faces; getting to spend the day with close family; eating well,  laughing, being merry and beating those sons of bitches at every parlour game, board game and quiz game brought to the table. Budge over, Jesus. There’s a new God in town.

So there’s no point writing about how lovely the loveliest bits were, because I want to make you laugh and/or nod in shamed recognition, not start cooing and ooing and aahing.

My second favourite part of the season was our eldest kid’s nativity play, which I enjoyed enormously, mostly because our lad was the star of the segment. He played the grumpy, boom-voiced inn keeper around whom the well-worn story of baby Jesus revolved. Although he was natural and confident in his poise and delivery, I can’t deny it hurt my feelings a little that he disobeyed my instruction to holler out ‘ALL HAIL LORD SATAN’ at the end of the big musical number. I’ll remember that, you little (Peter O’) tool!

The nativity was merely the opening act of a two-hour long extravaganza. We watched each of the remaining six classes perform their medleys of music and madness. I took particular delight in spotting those kids who were hating every agonising second of the experience; the ones who’d rather be out in the playground being smashed in the face with a lead pipe than standing on stage in full view of their community wearing a silly hat and dancing awkwardly to an old Boyzone song from 1992. Around 95 per cent of these squirming, dead-eyed children were boys. It may surprise you, but the overwhelmingly hyper-masculine, working class culture of this part of Central Scotland doesn’t always lend itself well to theatrical exuberance.

My kid’s performance aside, the best –the absolute best – bit of the show was definitely when they brought out the cardboard Twin Towers. OH NO THEY DIDN’T! Oh YES they did. Each class’s segment was built around the theme of a particular decade in the school’s history. Primary 2 had the 2000s, which covered 9/11, an atrocity that not for one second I thought they’d cover. When the curtains opened, I even whispered jokingly in my wife’s ear, ‘2000s? What are they going to do here: recreate 9/11?’ Then out came those two big pieces of cardboard with lots of little windows drawn on them in black marker, and down fell my jaw. What the hell was coming next?: two six-year-olds running out from the wings of the stage wearing pantomime airplanes and screaming ALLAHU AKHBAR?

Mercifully, the action segued from mention of the deadliest terrorist attack on US soil, to the many sporting successes of 2002. Tonally, it was like flicking through a classic women’s magazine. (’10 SECRETS TO A MORE LOVING YOU’ ‘KIDS SAY THE FUNNIEST THINGS’ ‘MY UNCLE CHOPPED OFF MY MUM’S HEAD AND USED IT AS A COCK WARMER’) There was no mention of the second Iraq War, but I figured the teacher’s main goal probably wasn’t to stage a live, theatrical documentary worthy of John Pilger.

Before the morning’s entertainment was over we’d had the wedding of Princess Di and Prince Charles (thankfully they omitted the Paris-based sequel: Di Hard); a nine-year-old girl stomping out on stage in character as Margaret Thatcher, and a ten-year-old Joey from Friends repeatedly shouting out ‘How YOU doin’?’. It was surreal as merry shit, and of course, for that reason, I loved every ridiculous second. I prayed that the finale would be JR Ewing and Jimmy Savile conveying the Iran Contra affair through the medium of Michael Jackson’s Thriller video, but, alas, they just sang a Christmas song. I hereby offer my writing services for next year’s Chrimbo concert. I’m thinking ‘Miracle on 34th Street’ meets ‘The Hills Have Eyes’. Get your people to call my people. I think we might have a hit on our hands…

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JOIN ME LATER IN THE WEEK FOR A TALE OF TICKETS, TERROR, PISS AND VOMIT AT THE EDINBURGH CHRISTMAS MARKET

Everything I Watched and Read in 2019

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At the end of 2018 I had a grand – and grandly anal – plan to document all of the media I absorbed over the coming year: every snatch of radio listened to in the car or in the kitchen; every newspaper edition skimmed or dissected; every scholarly or dastardly article accessed through social media; every movie, book, TV show and TED Talk.

OCD was a major catalyst, as was undoubtedly an almost volcanic geekiness, but I was also deeply interested in discovering whether the information and entertainment I absorbed had any influence over my beliefs and biases, or whether my tastes simply reflected long-ingrained patterns of thought and feeling. It was all set to be a fascinating experiment. There was just one flaw – a pretty significant one, as it turns out.

I simply couldn’t be arsed.

So what follows is a reduced list of only the main modes of media I absorbed, which will be of little to no academic use to anyone, and scarcely much use to me, the author. I suppose it’s useful as a yardstick to measure your own media use, and to work out if my tastes endear me to you, or make you want to smash me in the face with a dead shark. Books, then, and movies, and TV shows and stand-up performances. There will be no extended mention of the magazines and newspapers I read on a regularly basis – Private Eye, Empire, The National – or the websites I frequent – Rolling Stone, Den of Geek, The AV Club – or the radio stations I listen to – BBC Radio 4, The American Family Network (for a laugh). I’ve also left out the books I read to my kids every day, and the episodes of Classic Doctor Who we watch every morning over breakfast, plus the innumerable cartoons and dubious YouTube videos we watch together.

Without any further waffle, then, let’s dive in to 2019’s media round-up (with some best-of lists to follow in due course).

Books

The Sopranos Sessions – Matt Zoller Seitz & Alan Sepinwall The Long Earth – Terry Pratchett & Stephen Baxter
The Long War – Terry Pratchett & Stephen Baxter The Long Mars – Terry Pratchett & Stephen Baxter
The Shining – Stephen King Doctor Sleep – Stephen King
The Flood – Maggie Gee Lust Killer – Ann Rule
The Big Bounce – Elmore Leonard Get Shorty – Elmore Leonard
Everything I Never Told You – Celeste Ng Reaching Down the Rabbit Hole – Allan Ropper & BD Burrell
Killer Clown: The John Wayne Gacy Murders – Terry Sullivan with Peter T Maiken Great Apes – Will Self
Killers of the Flower Moon – David Grann Running with Scissors – Augusten Burroughs
Black Dogs – Ian McEwan Jonathan Livingston Seagull – Richard Bach
Trumpocracy: The Corruption of the American Republic – David Frum Where Men Win Glory – Jon Krakauer
The I-5 Killer – Ann Rule I Saw a Man – Owen Sheers
The Word for World is Forest – Ursula Le Guin The Incredible Adam Spark – Alan Bissett
Munich – Robert Harris The Secret Life of Movies – Simon Brew
TV (The Book) – Matt Zoller Seitz & Alan Sepinwall

Books in progress (I never read one at a time)

The Strange Death of Europe – Douglas Murray Beloved – Toni Morrison
The Art of the Deal – Donald Trump Storm of Steel – Ernst Junger
Captive State – George Monbiot On Palestine – Noam Chomsky & Ilan Pappe

Graphic Novels

Doctor Who: The Lost Dimension Vol 1 Trees, Volume 1: In Shadow
Trees, Volume 2: Two Forests Zenith: Phase One
Zenith: Phase Two Zenith: Phase Three
Starve Vol 1 – Brian Wood Starve Vol 2 – Brian Wood
MARVEL: What If – With Great Power… Old Man Logan – Millar, Bendis & Lemire
Back to the Future: Untold Tales & Alternate Timelines Palestine – Joe Sacco
Watchmen – Alan Moore & Dave Gibbons

TV shows

New in 2019

The Walking Dead S9 Part 2 American Gods S2
True Detective S3 The Orville S2
Star Trek Discovery S2 The Good Place S3
Russian Doll S1 After Life S1
You’re the Worst S5 This Time With Alan Partridge S1
Santa Clarita Diet S3 The Tick S2
Gotham S5 Future Man S2
Modern Family S10 Bertie and Tuca S1
The Simpsons S30 Brooklyn Nine Nine S6
Game of Thrones S8 Barry S2
Fleabag S2 Designated Survivor S3
Stranger Things S3 Archer S10
Marvel’s Agents of SHIELD S6 Orange is the New Black S7
Mindhunter S2 Krypton S2
GLOW S3 Undone S1
Legion S3 Fear the Walking Dead S5
Preacher S4 Bob’s Burgers S9
Surviving R Kelly S1 The Deuce S3
The Affair S5 Big Mouth S3
American Horror Story S9 Last Week Tonight S6
It’s Always Sunny in Philadelphia S14 The Walking Dead S10 Part 1
Real Time with Bill Maher S17 The End of the Fucking World S2
South Park S23 Mr Robot S4
The Mandalorian S1 Watchmen S1

Older shows

Outlander S3 The Haunting of Hill House S1
Vikings S5 American Gods S1
American Horror Story S8 Fleabag S1
The Deuce S2 The Expanse S3
American Crime Story: The Assassination of Gianni Versace S2 The End of the Fucking World S1
GLOW S2 The Affair S4
I Am a Killer S1 Doctor Who S11
The Dreamstone S1 Derry Girls S1
The Marvellous Mrs Maisel S1

TV Shows in progress (season incomplete)

Outlander S4E11 Documentary Now S3E5
Modern Family S11E8 The Conners S2E9
The Simpsons S31E10 Bojack Horseman S6E8
Bob’s Burgers S10E10 Rick and Morty S4E5
Vikings S6E4 Final Space S1E3
The Good Place S4E9 Schitt’s Creek S1E4
The Man in the High Castle S4E4

Stand-up

Dave Chapelle – Sticks & Stones (2019) Norm MacDonald – Hitler’s Dog, Gossip & Trickery (2017)
Bill Burr – Paper Tiger (2019) Hannah Gadsby – Nanette (2018)
Chris Rock – Tamborine (2018)

Movies

First time

Bird Box (2018) What We Do in the Shadows (2014)
Get Out (2017) The Public Enemy (1931)
A Dog’s Way Home (2019) Honey I Blew Up the Kid (1992)
A Quiet Place (2018) Blockers (2018)
Captain Marvel (2019) How to Train Your Dragon: The Hidden World (2019)
Spiderman: Into the Spiderverse (2018) Ant-Man and the Wasp (2018)
Avengers: Endgame (2019) Tangerine (2015)
Where the Wild Things Are (2009) The Strangers (2008)
Behind the Curve (2018) Toy Story 4 (2019)
North by Northwest (1959) Murder Mystery (2019)
Bumblebee (2018) The Queen’s Corgi (2019)
Shazam (2019) Trainspotting T2 (2017)
Creep (2014) Fighting With My Family (2019)
John Wick (2014) Child’s Play (2019)
Pacific Rim (2013) Spiderman: Far From Home (2019)
Philophobia (or the Fear of Falling in Love) (2019) Wild Rose (2019)
Joker (2019) Us (2019)
John Wick 2 (2017) Jumanji: Welcome to the Jungle (2017)
The Irishman (2019) You Were Never Really Here (2017)
The Drop (2014) Justice League (2017)
Paddington 2 (2017) John Wick 3 Parabellum (2019)

Already Watched, Watched Again

Hellboy (2004) Hellboy 2: The Golden Army (2008)
Toy Story 3 (2010) Trainspotting (1996)
Austin Powers: International Man of Mystery (1997) Austin Powers: The Spy Who Shagged Me (1999)
Austin Powers: Goldmember (2002) Mrs Doubtfire (1993)
Kindergarten Cop (1992) Home Alone 2: Lost in New York (1992)
Indiana Jones and the Raiders of the Lost Ark (1981) Star Wars Episode IV: A New Hope (1977)

See you back here next year, douchebags.

Lying to Your Kids: Your Questions About Santa (Parts 5&6 of 6)

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I wrote a mostly serious think-piece called ‘Why the Santa Myth is Bad for Your Children’s Elf’, which you can read by clicking on the highlighted link. The article inspired a set of questions, challenges and accusations, which I’ve been addressing in bite-sized pieces, day-by-day (well, every other day), in the run-up to Christmas. I hope this final section makes you laugh if we’re sympatico on the subject, and still makes you laugh even if you think I’m a monster (even though it’s clearly you who are the monster). If it makes you think, it’s a mere side-effect, I assure you.

What’s wrong with the whole Santa thing? Why can’t you let kids have their innocence a little longer, when this world is such a terrible, horrible, disgusting, nightmarish place?

The sort of people who trot this one out are usually the sort of people who spend more on their Christmas decorations than the GDPs of most small countries. While the poor line up on Christmas Eve to get tinned turkey from their local food banks, the ‘oh-it’s-nice’ brigade is busy spunking out £50-a-pop on individual strings of ethically-sourced tinsel from John Lewis and £600-a-go on tree baubles designed by John Paul Gaultier that have been pain-stakingly moulded from impressions taken of Paul Hollywood’s balls, all in the name of erecting a festive art installation in their homes that’s as close to the anti-septic perfection of a picture in an upmarket catalogue that a person can get their house to look and feel before it tips over into becoming a modern-day emperor’s mausoleum.

“We need Santa as a bulwark against this horrible world,” they say, as their kids open up a parcel containing a functioning, sentient robot and a wrist-watch that can tell the time in other galaxies. “They need to keep their innocence,” they say, as they drive their kids to Jenners’ Boxing Day sale, passing housing schemes along the way where the kids had out-of-date toothpaste for breakfast and dog-food for dinner, and had to take their siblings on in hand-to-hand combat for the privilege.

“Why is this world such a big, cruel, savage toilet?” they ask, as they fill out forms to send their kids to schools with wrought-iron gates and ivy creeping up the balustrades.

Santa doesn’t visit the schemes and estates where the red on the Aquafresh is actually blood. He just flies over them, as high above the ground as possible, tutting and shaking his head. Maybe he ejects the odd teddy bear with an eye missing, or a spoon without a handle, just to feel festive, but he daren’t land. “They’d have the fucking runners off my sleigh in a heartbeat,” he says, with a nervous laugh. “And they’d have the reindeer fighting to the death in an underground betting shop.”

Believing in Santa never did YOU any harm though, did it?

First of all, how do you know? How do any of us know? Millions upon millions of Americans think it’s normal to want school teachers to carry guns, or for poor people to die in agony because they can’t afford hospital treatment. That’s only crazy from the outside looking in.

Anyway, I’m not sure that exposure to organised religion at a young age did me any lasting harm (I’m an ardent atheist these days), but that doesn’t mean that I consider organised religion to be harmless. It’s incredibly dangerous, and in the wrong hands and heads incalculably so.

My gran smoked for about nine decades and didn’t die directly from smoking-related illnesses, but that doesn’t mean that smoking is safe.

I once lathered my naked body in liquid LSD and then tried to recreate the classic arcade game ‘Frogger’ by repeatedly running backwards and forwards across the motorway, but I was killed by a truck and came back as a High Priest of the Gnome people, so maybe that’s not such a great example.

In any case, whatever supernatural stories you need to tell yourself to make you feel better about your own actions, or less afraid of your own inevitable death, and whatever all-powerful entities you need to create in order to give those stories life, are all absolutely fine. They are. Really. They’re great. More power to you. Just so long as they don’t bring harm to any other living being – yourself included.

But the second you start seeking out other like-minded ‘souls’ with similar beliefs and supernatural figureheads to yours, with a view to forming a club, one which quickly moves to multiply and immortalise its rules and beliefs in the form of some irrevocable holy manifesto, the contents of which are destined to be poured down the throats of ‘heathens’ and children everywhere for time immemorial, then that’s not so fine. Then it becomes political. But worse…

Because while political leaders and political ideas can change and evolve with time (in theory, at least), religious leaders and ideas – in the main – do not. Otherwise, what’s the point? Either your God has all the power and all the answers, or he’s a pretty shit God, right? Religion is nothing more than politics preached from the cloud and the pulpit, as opposed to the podium and the press conference.

The big difference is, though – again in theory, and specific to this place and time – I’ve got at least some say over whether or not my kids are proselytised into a religion, or indeed a political party. I don’t seem to have any power over whether or not my kids should have a belief in Santa foisted upon them.

Even if the Santa myth had no ill effects, and didn’t constitute a massive breach of trust between child and parent/guardian, even then… why are people who don’t want their kids to believe in Santa forced to go along with it? What makes this relatively new and dangerously commercialised myth more important and sacred than a person’s right to raise their children the way they want to?

I’ve tried various things to gently shake my eldest son from his belief (I’m part of a team, remember, so I can’t just scream ‘SANTA IS A HOAX’ in his face fifty times a day, as much as I may want to). When my eldest kid was four I asked him: “How do you know it’s Santa and not just me and your mum going downstairs and putting presents out?”

He thought for a moment.

“Because he comes at night. And YOU’LL be asleep too. So it can’t be you.”

Such quick-thinking, such mental gymnastics, but all employed in the service of doing somersaults over ghosts. What damage are these falsehoods doing to his brain? Imagination is fine. Lies are not.

I stroked his hair and looked him dead in the eyes. “I just want you to remember, when you’re older, that there was one man in this world who didn’t lie to you.” And I pointed to myself.

That’ll come in handy if I need him to avenge me in the future…

Merry Christmas/Sharkmas one and all.

Dreamtime: Night-time Convos with your Kids

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Trying to get our nursery and early-primary age kids to sleep can take its toll on our sanity. We sit there in the dark with them for what feels like days as they pick at the wall, drum on the side of the bed, flick the buttons on plug sockets, and contort themselves into shapes Russian gymnasts would baulk at – doing anything and everything, really, except closing their eyes – all the while fighting the rising tide of irritation that’s pushing us ever closer to Hulking-the-fuck-out. Inexplicably, despite our best and most desperate efforts, we’re usually the ones who end up falling asleep. The indignity of it: drummed to sleep by our own over-tired kids.

It’s not only easier just to give up and go with it: it’s better. After all, we have some of the most marvellous conversations of all with our kids inside that limbo-land between hyperactivity and unconsciousness. Daft, sweet conversations full of warmth, whimsy, lunacy and laughter: Twin Peaks meets Mr Tumble with a dash of Austin Powers – with banter that sings, zings and pops like dialogue from an Aaron Sorkin show written exclusively for kids.

On those nights you’d gladly sit in the half-dark chatting nonsense with them forever.

My kids sleep in single beds on opposite sides of their bedroom. The space between the two beds is small, but large enough to house a black leather reclining chair, upon which my wife or I will sit, depending upon whose turn it is to do the stories. Our youngest, Christopher, who’s now three, always falls asleep first. He insists on cuddling your arm, which he pulls into his bed and yanks close to his chest like a favourite teddy bear. Jack, freshly five, is a different story. He’s almost always still awake by the end of the last story, and will do everything in his power to repel sleep. The other night, after about the five millionth shush, I decided to indulge him.

‘Daddy,’ he said. ‘Did I tell you I saw Santa at school today?’

Regular readers of this blog will be well aware of my opposition to the Santa myth. They’ll also know that I was over-ruled and out-gunned on the matter, hence why Jack fully believes in Santa, knows I don’t, and feels deeply sorry for me as a consequence. Never-the-less, I decided to indulge in a dance of devilment around the periphery of his belief.

‘How many Santas have you seen this year in total, do you reckon?’ I asked him.

He pursed his lips. ‘Two.’

‘I think it’s three.’

He nodded, as if to say, ‘Yeah, what’s your fucking point?’

I pressed on, adopting the air of a smug prosecutor about to snare him in a Columbo-esque trap: ‘Was it the same Santa each time, do you think – the same guy just moving around – or were they all different Santas, like there was more than one of them?’

I could see him processing this. ‘They were… different, I think,’ he admitted.

‘A-HA!’ I said, leaping to my feet, and rhythmically slapping him about his cheeks. ‘IN YOUR FACE, YOU GULLIBLE LOSER! THAT’S IT! THAT’S BLOWN THIS CASE WIDE OPEN! HOW DO YOU FEEL NOW, YOU DUPE? YOU DORK? YOU HOPELESS MORON?’

OK, I didn’t say that. I’m not a complete monster. What I said was: ‘Is there only one Santa in the world, do you think? One real Santa?’

He squidged up his mouth in thought. ‘Yes,’ he said earnestly.

Time to wave your cigar, Columbo. ‘So if only one of the three Santas you met this year was the real Santa… then what are the other two?’

‘Robots,’ he said, without any hesitation, and with considerable authority.

So much for Columbo. All credit to him, that’s a bloody brilliant answer. It’s just a shame his quick mind and powerful imagination has to be employed in the service of a vast conspiracy perpetuated annually by millions of quasi-Stalinist Santanistas [And, yes, I am tremendous fun at parties].

‘Do you still not believe in Santa, daddy?’

He looked like a little puppy dog, and I suddenly felt like an angry miser with my foot drawn back for a kick. Now that the Santa myth was entrenched in his psyche – thanks to the endless reinforcement of it by everyone around him – his happiness was indivisible from its shape. I held his hopes and dreams in my hands. My truth – the actual, literal truth – would only make him cry now, even though he’d already heard it from me during previous discussions on the topic. The lie’s roots were now too deep to be extracted without killing the host.

‘I’m still not convinced he exists,’ I told him, softening my stance in order to preserve it, all while taking care not to break his tiny little heart. You bloody monsters. I wasn’t done with this line of reasoning yet, though. I still entertained hopes of helping him to a breakthrough; hand him the key to cast off the shackles himself.

I stroked my chin. ‘What do you think Santa does for the rest of the year when he isn’t out delivering presents?’

‘Well, he tells the elves to get things ready.’

Ah, that’s healthy, isn’t it? In Jack’s eyes Santa is some Victorian-era factory owner, cracking the whip to get those marginalised ethnics working their tiny green butts off. I shook my head. ‘But that won’t take up too much of his time.  What does he do all the rest of the time? The other eleven months of his year?’

Jack batted my question back like it was a slow-moving ping-pong ball. ‘He just sits on his bum. On a chair.’

I had to run with this. Best case scenario, I kill Santa. Worst case scenario, I coax some laughs from that little mouth of his. Hopefully both. ‘So Santa’s got magical powers. He can travel all over the world in one night, delivering hundreds of millions of presents, but he doesn’t use that power the rest of the year? Like, to stop robberies? Or to help put out fires? “SANTA, HELP ME, I’M BURNING!” “Sorry, son, I’m too busy just sitting in my chair.”’

Jack laughed. ‘No. He just sits there.’

‘That lazy fat git.’

Jack laughed again.

‘”SANTA, HELP ME, MY SHOP IS BEING ROBBED!” “Bugger off, it’s June! Can’t you see I’m sitting in my chair, for Christ sake?’”

I left Jack with the imprint of a kiss on his forehead, and a room ricocheting with giggles. Success. Just as long as he stayed asleep now.

There are limits to this whimsy lark.

A little while later I was in my own bed watching TV. This is still something of a novelty, as we only became a two-TV household relatively recently. Jack appeared at the doorway revealing first a foot, then a shoulder, and finishing off with the big reveal of his bed-mussed head.

‘Daddy,’ he said, his face downcast. ‘I keep trying to get to sleep, but I keep thinking of zombies, and I don’t want to go to sleep because then I’ll dream of zombies.’

I paused the TV. I was watching Vikings. Probably best not to add rape and decapitation to his list of nightmares. He watched me for a moment or two, wondering if I was going to order him back to his bed or make room next to me. I smiled.

At times like this I always think about the episode of Cracker where Fitz delivers his mother’s eulogy. He tearfully recounts how as children he and his brother crept up to their living room to watch a boxing match on TV through a crack in the door. Long past their bedtime, Fitz somehow just knew if he pushed open the door his mother would let them both into the warmth of the room to watch the match with them. Fitz’s brother later tells him that he had no interest in the boxing match. He’d only wanted to watch his mum and dad.

‘Come here,’ I said to Jack. All thoughts of zombies must have staggered from his thoughts, else they were never there to begin with, because he bounded over to my side of the bed with a massive grin on his face. I budged over and let him snuggle in.

‘Zombies, huh?’ I said.

‘Every time I try to think of something nice, it turns into a zombie.’

I considered it for a moment. ‘Well have you tried thinking of something that’s a zombie first and then turning it into something nice?’

He looked up at the ceiling and a little smile appeared on his face.

‘It’s your brain. You tell it what to think, not the other way around.’

He seemed happy with this.

‘Hey,’ I said, tousling his head. ‘Do you think there’s a little zombie boy out there somewhere creeping into his dad’s bed because he woke up having a nightmare about a normal little boy?’

I could feel Jack’s grin creeping against my bicep. He fell asleep soon after, just as his little brother burst into the room, eyes aflame, hair a mess. He fell asleep on the other bicep.

I didn’t press play on the TV for a long time afterward. I had no need of it. All I wanted to do was watch my two boys. While I still could.

Time is precious.

Lying to Your Kids: Your Questions About Santa (Part 4 of 6)

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I wrote a mostly serious think-piece called ‘Why the Santa Myth is Bad for Your Children’s Elf’, which you can read by clicking on the highlighted link. The article inspired a set of questions, challenges and accusations, which I’ve been addressing in bite-sized pieces, day-by-day (well, day-by-every-other-day), in the run-up to Christmas. I hope it makes you laugh if we’re sympatico on the subject, and still makes you laugh even if you think I’m a monster (even though it’s clearly you who are the monster). No questions this time. I just want you to imagine an alternate universe where Christmas was never celebrated, and instead…

Yee-Haw! It’s Sharkmas!

Imagine if you heard about a culture where every June the 15th a fat cowboy called Finn Clintson sped around the world on the back of a flying great white shark, stopping off along the way to eat piles of air fresheners from people’s cars, his mission to deliver millions of boxes of rice to the kids of the world, but only those who can play darts to a professional standard.

As early as May, families start putting neon sharks in their windows. They take their kids to aquariums where they sit on Finn Clintson’s great white shark (a stuffed one, of course) and tell Finn what kind of rice they’d like for Sharkmas. On Sharkmas Eve, all the dads go out to their cars and lay fresh stacks of air fresheners on the passenger seats. They leave the doors unlocked so Finn Clintson doesn’t have to break through a window.

Between April and June the cries of ONE HUNDRED AND EIIIIIIIGGGHTTTYY can be heard bellowing from every window, and down every street, as kids everywhere pepper their houses with dart-holes in their zeal to emulate their Sharkmas hero, Les ‘Danger’ Wallace. Listen carefully at any window behind which a pushy parent is coaching a kid to be the best darts’ player they can be, and you’ll hear things like: “DO YOU EVEN WANT TEMPURA RICE THIS YEAR, ABIGAIL?” and “YOU MISSED DOUBLE-TOP? IT’S LIKE YOU WANT TO MAKE FINN CLINTSON’S SHARK DIE OF SADNESS!!”

And no-one’s allowed to tell their kids that Finn Clintson isn’t real, or where the rice really comes from, or that sharks can’t fly. Even the schools keep up the charade, bringing Finn Clintsons into the school and having the kids make little wooden great white shark decorations to dangle from their Sharkmas Hat Rack. Churches teach how the world was created by a giant basking shark called Tony.

What would you think of that culture? Absolutely bloody mental, right?

Happy Sharkmas, you douchebags.

Lying to Your Kids: Your Questions About Santa (Part 3 of 6)

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I wrote a mostly serious think-piece called ‘Why the Santa Myth is Bad for Your Children’s Elf’, which you can read by clicking on the highlighted link. The article inspired a set of questions, challenges and accusations, which I’m going to address in bite-sized pieces, day-by-day (well, every other day), in the run-up to Christmas. I hope it makes you laugh if we’re sympatico on the subject, and still makes you laugh even if you think I’m a monster (even though it’s clearly you who are the monster).

Oh, come on, you believed in Santa as a child, and I’ll bet YOU liked it, you big spoil-sport

I’ve got quite a simple response to that question, really.

Nothing should be done to inhibit a child’s burgeoning critical faculties, or to corrupt their very sense of the world as an observable, rational and comprehensible place. You can pretend, play-act, stretch the limits of their imaginations, sure, but don’t for Christ’s sake have them believing a lie for seven fucking years!

Don’t get me wrong. You’re right. I myself used to believe wholeheartedly in Santa Claus. I used to get letters from him, in very ornate handwriting. And I thought: this could only be the work of a magical being; he writes like a bloody pro. This guy’s the real deal. I also used to get plenty of Valentine’s cards. I don’t think I can properly express the horror I felt on the day I was old enough to realise that the letters from Santa and the Valentine’s cards were all in the same handwriting. That was a shock to me. “Well, Santa. I see last year’s presents have come with a few strings attached. I’m not that sort of boy. But maybe throw in a few Easter eggs and we’ll talk.”

The truth was even more horrible. I cross-referenced the Santa letters and the valentine’s cards with the handwriting on my birthday cards. Turns out the Santa letters and the Valentine’s Day cards were from my gran.

“Roses are red, and I’m your mum’s mummy, just wait till I stuff you, back up in my tummy.”

I know she was just trying to boost my fragile little-boy ego, but I really bought in to the whole romantic fantasy.

And all that time the unrequited love of my young life was a bloated septuagenarian Glasweigen lady who smelled of cabbage. I was cat-fished by own gran before it was even a thing.

So, no, Christmas was quite traumatic, actually.

Quick Guide to Today’s Election Candidates

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I’ve compiled a quick run-down of the prime ministerial/first ministerial candidates and their policies to help you make an informed choice on this historic occasion.

Jeremy Corbyn – Labour

A true community activist, Jeremy Corbyn was a founding member of the IRA (Islington Radicals Association) and is still active in both the PLO (Peckham Leftist Organisation) and ISIS (Ilford Secularists Information Service). When he isn’t politicking, he likes to while away the evenings writing pamphlets, which are then posted through people’s doors by a collective of canvasers, each of whom wears a free-range beret and a badge that says ‘NELSON MANDELA – ALWAYS FREE AT THE POINT OF ENTRY’. The only payment they receive for doing this is a promise they’ll get to decide who’s first against the wall come the revolution. Some of Jeremy’s more popular pamphlets include ‘Nationalising Masturbation: The Hard Questions’, ‘Choosing the Right Balaclava for You’ and ‘Why Pantomimes are Fascist: Oh No They Aren’t, Oh Yes They Are’.

When Corbyn isn’t setting fivers alight just so that he can douse the Queen’s silently burning face with his cold piss, he likes to dress up as Stalin and masturbate gamely over ant colonies.

Five most striking policy proposals

  • A vow to give over all football grounds to Russian turnip farmers
  •  Make it law that the Royal Family must dress in shell-suits and smoke filterless cigarettes
  • New sessions of parliament must be opened with a six-hour long Irish jig with everyone dressed as leprechauns
  • Violent criminals to be given a cuddle and sent on their way
  • Death to the west

Jo Swinson – Liberal Democrats

Jo Swinson comes from a long line of Swins, a name that means ‘pig’ or ‘swine’ in Danish.  Swinson plans to change her name to Swindaughter on the eve of the election, to remind voters that she’s a woman, a brave woman, a strong woman, a real woman’s woman, womany all over, yep, she’s a woman alright, surprised she hasn’t mentioned it – and then a few minutes later she’ll change it to Jo Swintersex when someone in her campaign team points out how violently transphobic she’s being.

‘I’m a woman, my mother was a woman, and I really rather enjoyed both the Ghostbusters and the Oceans Eleven remake,’ Swinson announced at the Lib Dem party conference this year. ‘If I become prime minister, I’ll make sure that they do all-female remakes of Priscilla Queen of the Desert, Dunkirk and a new Cheech and Chong called Debbie and Samantha.’

It’s no secret that Jo Swinson’s life-long hatred of squirrels makes her the most dangerous candidate in this election. She’s already beaten one to death live on TV during Saturday Kitchen, afterwards vowing to eradicate squirrel-kind with a nuclear strike the first chance she gets.

Jo Swinson’s accent has been genetically modified to make her sound gradually less and less Scottish. Certainly no-one from Glasgow, or even her native Milngavnie, sounds like Swinson.  She used to sound exactly like Paul Coia, but her accent was experimented on in a hail of screams and lightning, Frankenstein style, until it died and came back as a zombie, except it’s pronounced ‘zoahowambee’ now for some fucking reason.

Five most striking policy proposals

  • The hateful, racist, transphobic US TV series Friends to be banned
  • All citizens must kill at least six squirrels a month, and prove it or they die
  • The adoption of all Tory policies
  • Earth to be re-named Her-th
  • Clitoris to be re-named Clito-her

Boris Johnson – Conservatives

Boris Johnson lives in a fridge, and likes to kill poor people. He’s really rather fond of the ‘working class’, but only in this sentence:  ‘Tory policies to kill the poor are working! Class!’ When he isn’t shuffling around like a recently-divorced Dulux dog that’s been shoved inside an un-ironed suit, he’s riding his bike around London with all the grace and poise of Officer Doofy fucking a vacuum cleaner.

Look closely as Boris is out on the campaign trail and you’ll notice that his arms are robotic (remotely controlled by a hidden Michael Gove), and his real arms are secured behind his back with cable tie. This is to stop Boris from trying to fuck every married woman to whom he’s introduced, and to prevent him from giving the fingers to poor people.

Boris taught himself to read using old World War 2-era boys’ comics with names like ‘Adventurous Rascals’ and ‘Cor Blimey, the Gerrys Nicked Me Spyglass’, which is why he still says things like ‘bother’, ‘gosh’, ‘blimey’, ‘Whizzo’ and ‘black people are genetically inferior’. Both he and his dad like to write shite spy thrillers about floppy-haired fat cunts called Boris saving the world from the insidious evil of people who aren’t white, English, upper-class, floppy-haired fat cunts called Boris.

At university, Boris Johnson introduced David Cameron to the pig whose head he would later f***.

Former leader of the Scottish Conservatives Ruth Davidson has announced that she will go skinny dipping in Loch Ness if the SNP gain 50 seats in this election. Boris has admitted that’s the one thing he probably couldn’t wank to.

Five most striking policy proposals

  • Top up the winter fuel allowance for the elderly by giving them homeless people to burn
  • Boris to be given a pass from the rigours of actual leadership so he can just make spoof videos all day
  • All new tower blocks to be doused in paraffin and made of cardboard
  • Questions to be made illegal
  • The NHS to be sold to Saudi Arabia as a weapon

Nigel Farage – Brexit Party

The Brexit Party’s party political broadcast this year was just an old man in a British-flag-patterned suit and top hat standing on a cliff-top angrily kicking Rogan Joshs into the sea, as Nigel Farage glared menacingly on necking a pint of Belhaven Best.

Nigel used to be in charge of UKIP, which has now been disassembled and put into storage in a warehouse just outside Kent, occasionally checked on by people called Dick Brayne and Pat Mountain, who sound like they were invented by the Viz Letter’s Page.

When Nigel isn’t peddling right-wing, racist propaganda, lying to the working classes and feathering his own nest, he likes to peddle right-wing, racist propaganda, deceive the working classes and feather his own nest. He’s going to be on next year’s Strictly Come Dancing.

Five most striking policy proposals

  • Something, something, something racist
  • [gulps down a pint of Belhaven]
  • Those bloody eastern Europeans! [shakes fist]
  • I’m just like you, salt of the earth, I am [eats caviar from a £50 note]
  • Give the Queen a knighthood

Nicola Sturgeon – SNP

Nicola Sturgeon is irreplaceable. Literally. The SNP can only be helmed by people with fish, or fish-related, names, and until a prospective leadership candidate comes along called Johnny Halibut or Vicky Basking-Clark, they’re going to have to keep Nicola extra safe.

Nicola Sturgeon has infuriated rivals by continuing to answer questions put to her directly without obfuscation or deceit, something that has [Woah, woah, woah. This is supposed to be a ridiculous little article that mocks each of the parties equally. Your bias is showing a little here – Ed] [Em, I don’t have an editor. It’s just me. I write this website myself.] [Then who the fuck am I? Am I just a guy called Ed? – Ed] [I don’t know, man.] [What do you mean you don’t know? If I don’t actually exist then it must be you who’s typing these words I’m saying right now, right? – Ed] [You don’t have to keep signing off as Ed now that we’ve established you don’t actually exist] [I’ll bloody well do what I like! Anyway, stop obfuscating. Why are you giving the SNP and Nicola Sturgeon an easy ride here? It’s the measure of a good satirist that they can skew even their own heroes and preferences, you know – Frank] [I’m not a satirist though. I don’t know if you’ve noticed, but I tend to make lots of easy jokes about knobs and bodily fluids and things. And Frank? Really?] [Yeah, since I’m not Ed I figured I could be whoever I liked – Gandalf] [This is getting ridiculous.] [Answer the question! Why are you giving the SNP an easy ride? – Fozzy Bear] [Because the SNP is the party with the fairest and most progressive policies, and represents the best hope for Scotland, and Nicola Sturgeon is a decent, measured, intelligent, capable and consummate politician who actually seems to give a fuck about what she says and what she does] [….That’s not very funny, is it? – An elk called Richard] [No, I suppose it isn’t]

Happy voting, comrades.

Lying to Your Kids: Your Questions About Santa (Part 2 of 6)

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I wrote a mostly serious think-piece called ‘Why the Santa Myth is Bad for Your Children’s Elf’, which you can read by clicking on the highlighted link. The article inspired a set of questions, challenges and accusations, which I’m going to address in bite-sized pieces, day-by-day (well, every other day), in the run-up to Christmas. I hope it makes you laugh if we’re sympatico on the subject, and still makes you laugh even if you think I’m a monster (even though it’s clearly you who are the monster).

What have you got against kids using their imaginations and believing in magic, Jamie? Don’t you realise that without Santa the world would be a grey, dull and empty place?

Of course, you’re right.

It’s only at Christmas-time that we permit our kids to exercise their imaginations in glorious, ambulatory 4D instead of just forcing them to mainline TV through their eyes, absorbing hour after hour of YouTube videos of kids opening plastic egg-cases (for some inexplicable reason, this is considered entertainment).

Our kids spend eleven months of every year shuffling around the house like robot butlers haunted by the souls of civil service middle-managers, daring only to imagine that the next day and the next day and the day after that will be exactly the same as it was today.

Until, that is, the igniting spark of Christmas arrives! Huzzah! ‘Tis yuletime, so come to life, my children. Come to life! It’s time to play, to dare, to dream. Let your thoughts have substance, for ’tis the season of magic (‘Tis also the season that teaches kids that it’s okay for fat old men to break into houses in the dead of night as children sleep).

It’s the time of year where parents everywhere say to their spawn: “Come on, kids, let’s begin your officially-mandated month of very strictly regulated imaginative role-play. I’m going to channel all of my dead-eyed vapidity into regurgitating the same old stock-phrases about Santa that I trot out every year, and pretend that I’m taking you on some unforgettable, mind-bending journey to the very periphery of the knowable universe, when in reality I’m just lazy and deeply unimaginative, and SANTA’S NICE, AND I LIKE NICE THINGS, THINGS THAT MAKE PEOPLE GO AWWWWWW, AND YOU WILL NOT TAKE THAT AWAY FROM ME, YOU LITTLE FUCK-STAIN! Plus, I really like accessorising trees, and making my house look like a John Lewis catalogue, so when I take pictures of my decorations and put them on-line it makes everyone question their sad little lives, and how they’ll never match up to me so they might as well convert to Islam next year.”

Magic is for life, not just for Christmas. Santa is nothing more than a template, a suggestion, a Shutter-stock photo. Kids should be creating their own mental mischief all the time, every day. And you, as a parent or a big person in their lives, should be running around the house with them pretending to be fifty-foot-high hedgehogs on the run from the Intergalactic Council of Sentient Jelly Cakes, or bears with the heads of dolphins, or screaming at each other in made-up languages. Kids need magic. It sustains them. They just don’t need their magic accompanied by a side-order of lies.

Why is it so important to deceive them as we enchant them? Wouldn’t Santa still be a lark if the kids knew he wasn’t really ‘real’? Of course he would. Harry Potter isn’t real, Star Wars isn’t real, and people have become multi-millionaires a million times over on the back of that shit.

Do you want to go ‘all in’? Is that what you want? You want to go all in? Let’s do it then! Let’s tell our kids that EVERY fictional character is real: Ronald McDonald, the Honey Monster, the Gruffalo, Mr Hankey, Death, dragons, Scooby Doo, Muttley, Garfield, Jesus, Danny Dyer. ALL of them. You want magic? HERE’S your fucking magic!! Check out this world: kids who can’t eat their Rice Krispies because they’re frightened that Snap and Crackle are going to burst out of the packet and kick the fuck out of them; kids who think Voldermort is going to pick them up from school and then turn into a giant spider and eat them. Let your mentally-exhausted children live in that world. Let them run THAT gauntlet, you sickos.

Lying to Your Kids: Your Questions About Santa (Part 1 of 6)

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I wrote a mostly serious think-piece called ‘Why the Santa Myth is Bad for Your Children’s Elf’, which you can read by clicking on the highlighted link. The article inspired a set of questions, challenges and accusations, which I’m going to address in bite-sized pieces, day-by-day, in the run-up to Christmas. I hope it makes you laugh if we’re sympatico on the subject, and still makes you laugh even if you think I’m a monster (even though it’s clearly you who are the monster).

Why are you trying to rubbish Santa, Jamie? It’s tradition. We’ve always had Santa and elves and reindeer at Christmas time. ALWAYS.

Yes, you’re right, indeed we have. Who can forget the famous cave paintings depicting early man clubbing a bear to death as Donner and Blitzen whizz above his head on a coke-fuelled adventure, pooping down gift-wrapped bones and Christmas cards made from human skin? Or Jesus sitting on Santa’s lap asking for a camel that can go through the eye of a needle, and Santa shaking his head and asking, “Is that on the Pray-station 4?”

The Santa we know today – big red coat, bushy white beard, jelly belly and jolly disposition – has had more origin stories than all of the heroes and villains at Marvel and DC combined. He’s an ever-shifting mish-mash of Christian saints, pagan myth and alpine folklore who’s been constantly co-opted and re-packaged by ad-men, marketers and movie moguls the world over, to the point where he’d be almost unrecognisable to those long-ago mountain children who grew up hearing tales of the petty, vengeful old bastard who partnered up with a half-goat, half-demon called Krampus to go around the countryside stuffing kids into a sack. Ho-Ho-Ho(sef Fritzl).

Shall we bring Krampus back then? If it’s tradition you’re thirsty for? After all, horny old Krampus is far more traditional than the Coca-Cola-becoated old coot who shimmies down our chimneys when our kids are sleeping. I’m all for it a Krampus comeback, incidentally. I think Christmas would be improved immeasurably by the introduction of blood-curdling terror (which would also be a perfect complement to Brussels Sprouts).

On second thoughts, let’s not get too hung up on tradition. We used to do a lot of things back in the day: burn witches; stone adulterers; smoke on aeroplanes; vote Liberal Democrat. There’s always room for change. We don’t need to preserve the status quo (and by ‘status quo’ I mean ‘any established or prevailing world-order’ just as much as I do the 1970s rock band Status Quo, who were fucking terrible).

We already took Jesus out of Christmas.

What’s one more fictional bearded character?

Off to fuck you go, Santa, my good fellow.

Jamie Does… Psychics

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In this occasional series, Jamie Does…, I’ll be coming out of my mental, physical and spiritual comfort zones to take part in, learn about and experience all manner of lifestyles, rituals and activities. Pushing myself to my very limits; suffering in the pursuit of knowledge and self-growth; making myself look like a complete and utter bell-end. And hopefully making you bunch of sadists laugh along the way. This time: psychics. 

As I sit at my table waiting for the psychic floor-show to begin, I realise two things: one, that I’m cold – there’s a draught skipping and dancing over my exposed skin – and, two, that I can hear voices, chattering and insistent. Could it be that the dead are already with us, lowering the temperature with their ghostly presence, and whispering on the peripheries? Well, no. There’s a simpler explanation. I’m in a pub in Grangemouth, and the heating is broken. And it’s full of regulars, hence the whispering. Which is less like whispering, and more like hushed shouting. But not so hushed. Yeah, they’re pretty much just shouting. Sorry I lied to you, but I needed to make my ghost-themed intro work.

The only thing separating those of us, like me, who are here for the spirits from those who are here for, well, you know, the spirits, but the drinkable kind, is an invisible partition; that and some reserved signs selotaped to the backs of our seats. I have a good look around. Everything about this special, ticketed event screams ‘cheap’. I hope that doesn’t mean we’re going to get commensurately cheap ghosts and psychic advice. (“Your third-cousin’s former best friend’s grandpa’s brother is here, and he says that blue doesn’t really suit you in a shoe.”)

The firm behind tonight’s voyage into the great unknown is Second Sight, who’ve come to Grangemouth from Paisley, which is a little like travelling from Chernobyl to… well, a different part of Chernobyl. I have a chuckle at their slogan: ‘The Alternative Experience’. Alternative to what exactly? Their mantra’s as imprecise as their craft. Maybe they’re offering an alternative to experience itself? ‘Come join us for a night of formlessness that may or may not have happened that one day soon you won’t remember anyway.’

Every table receives a little slip of paper that can be used to book a private reading later in the night. I laugh again when I see the disclaimer on the slip: FOR RECREATIONAL PURPOSES ONLY. Imagine if you read that phrase on the consent form for your bowel surgery. You’d evacuate immediately.

The pub I’m in used to be a church. Significantly more than half of its inhabitants are pissed. The environment seems sacrilegious enough as it is without angering God any further by attempting to commune with the dead. I wonder how cold it’ll be once the Almighty blows the roof off the place in a fit of Old Testament rage. It comes as something of a relief when I remember that God doesn’t exist. Or ghosts. Or psychic powers, for that matter.

Yes, folks, I’m a die-hard sceptic: an affirmed anti-religionist and pooh-pooher of the supernatural. I’ve no patience for folksy faith beliefs or witchy superstitions, which tend to have a deleterious effect upon common sense, the power of reason and a society’s ability to educate its young. I’ve always preferred to see the world through scientific safety specs rather than misted, mystical goggles. I can’t believe there are people out there credulous enough to believe not only that it’s possible to lay a twinkling fibre-optic cable across the cold canyon of death to have a wee blether with your dead granny, but also that the only people powerful enough to achieve this miraculous feat are retired dinner-ladies and mentally-ill hairdressers.

So what am I doing at a psychic floor-show, you may very well ask? That’s easy. I’m here to take the piss out of it. Here. In this very blog you’re reading now.

Where’s your inquisitive and open mind, Jamie? Ach, been there, done that, got the T-shirt (and the T-shirt says ‘I’m not doing that again, hence this T-shirt’). I’m with Richard Dawkins, Derren Brown, James Randi and almost every other sane-minded, rational thinker on this particular subject.

Still, just because I hold these beliefs in private and occasionally express my thoughts about it through the medium (forgive me) of this blog doesn’t mean that I have to be an absolute asshole to people who do believe these things when meeting them face-to-face. My politeness always over-rides my scorn. Well…

Almost always.

Tonight in this vast, cold space I’m surrounded on all sides by believers and ‘well-there-must-be-something-to-its’. Well, that’s what I believe, anyway. What a plot twist it would be if every single person here tonight, like me, was just here to take the piss. Anyway, I find myself reticent about revealing my true feelings to the rest of the guests, even under direct questioning. To which I’m soon subjected. A lively older woman sitting with her daughters at the table just to my right asks me outright if I’m a believer.

‘I’m a sceptic,’ I tell her, which is entirely true, ‘but I like to keep an open mind,’ I tell her, which is complete bullshit. At least where this stuff is concerned.

I ask her the same question in return. She admits to believing in ‘something’, but isn’t completely sold on psychics. Not all of them, anyway. Some are definitely better than others, she says. I ask her why she asked me about my beliefs, or lack thereof. Was I giving off sceptical vibes?

‘No,’ she says, ‘It’s just you don’t see many guys at things like these.’

She’s right. I’ve noticed the same. Audience and psychic alike are usually mostly female.

‘Why do you think it is that men don’t usually come to these things?’ I ask her.

‘I guess they don’t see it as a manly thing. Like all of this is women’s stuff.’

It’s an interesting perspective. I once talked with a professor of social psychology from Glasgow University about spiritualism, and asked him why he thought many more women than men believed in it. He thought that the impulse possibly stemmed from motherhood; that the ability to create life gave women stronger feelings about death, especially guilt and fear. A sincere belief in spiritualism and the afterlife can go some way towards rendering a mother’s anxieties moot. If all of this is real, then a woman isn’t bringing life into this world just to die. We all get to live forever.

The professor didn’t think it was a coincidence that spiritualism first took hold around the time of the First World War, when hundreds of millions of men – millions upon millions of sons – were sent to their deaths en masse in the most horrifying ways and conditions imaginable.

My deep and solemn thoughts are shattered by a sudden onslaught of music. The words boom out across the pub floor as an old man hobbles past my table on his way to the toilet for a shite: ‘YOU CAN DO MAGIC!’

We’re ready to begin.

The lead psychic takes to the stage. Well, to the floor. Stages are a bit too pretentious for Grangemouth. The psychic’s in late middle-age, and clinging fiercely to the last vestiges of her blondeness. Her accent’s a messy amalgamation of every single English regional accent ever uttered, past, present and future. I can detect a pinch of Scouse here; a dash of Ancient Saxon there; a sprinkling of Terry Tibbs from Fonejacker here. Mercifully, the Paisley brogue hasn’t rubbed off on her. ‘Bored’ and ‘angry’ isn’t a good tonal blend for a psychic to have.

Let’s call this lady Tibbs going forwards so we don’t get confused between her and the other lady. ‘Other’ singular. There are supposed to be three psychics here tonight, but Tibbs explains to us that the third fell ill, and had to pull out at the last minute. Those unforeseen circumstances are a bitch, right? I post this joke on Facebook, and someone on my feed asks me never to do this awful joke ever again. It’s hacky, yeah, but what can I do? It’s not really a joke. It happened.

Unfortunately, it’s the spiritualist medium portion of the triumvirate who’s sick, and if we’re all honest with ourselves – believer and sceptic alike – the medium’s the one we’re here to see. They’re the most entertaining and potentially hilarious of the bunch.

Instead we’ve got Tibbs and her tarot cards.

I’ve never understood the allure or indeed the point of Tarot; why it satisfies people so much. ‘Pick a card, any card, and I’ll stitch together a set of generic probabilities and parcel them up to you like a warning from some supernatural under-writer at a ghost insurance company.’ I could do Tarot, and I wouldn’t need any fancy schmancy cards, either. I’d just do it with a normal deck of playing cards.

‘Ah, the six of clubs. That’s an interesting one. It means you’re going to enjoy some lovely long walks on the beach, and maybe come into some money. Ah, joined by the nine of diamonds. Oooh, bad luck, your sister’s going to die. That’ll be forty quid, please.’

Stand-ups occasionally have to deal with hecklers: boorish loudmouths who think that their obnoxious, booze-fuelled banter is a boon for their act, and almost certainly a gift to comedy itself. This is the first time I’ve seen a heckler at a psychic night. There’s an older lady, big stern specks and shark-like eyes, and built like an angry ostrich, who’s loudly objecting to almost everything that happens.  Her mostly incomprehensible outbursts are accompanied by shushes from one of her two nieces who are sitting across the table from her. ‘Come oan, Aunty Mary!’ they keep saying, in an exasperated, though amused, tone.

Aunty Mary’s having none of it. Like a naughty child, each rebuke only fuels her mischief. If she isn’t downing and slamming pints, she’s laughing hysterically at nothing in particular, or barking out half-words like a dog with a brain injury. She turns around and shouts something at the old lady sitting at the table just in front of mine: ‘How dae ah ken you? Dae a ken you fae somewhere?’ The old lady just sort of shrugs, looking visibly grateful that she doesn’t actually ‘ken’ this cackling, pint-slamming she-beast.

Mary ups the ante: each time the psychic asks the audience for a round of applause, Mary spins around, pulls an angry face and gives her the fingers ‘behind her back’. I have to keep biting my lip. This shit is hilarious. But I really don’t want to catch Mary’s eye. Easier said than done because she keeps turning round to stare at me. It’s unnerving. Like being watched by a giant owl. I feel like I should’ve given my six pounds admission to her:  ‘An Audience with Aunty Mary and Friends: a night you won’t forget, an evening she’ll never remember.’

Meanwhile, Tibbs keeps calling up volunteers and shuffling out supernatural wisdom. She tells one young woman the cards want her to leave her boyfriend; she advises a middle-aged woman she’ll be going to a funeral in the next four months, and she pleads with a young man to sit down more often if he’s feeling tired. If the other side of the existential plane is this achingly dull, I’ll gladly choose oblivion over eternal life; even reincarnation into the body of a scrotal tick would be better. No wonder Mary keeps giving Tibbs the loco sign.

And no wonder Mary doesn’t come back after the first break. I’m devastated, but I can’t blame her.

I head to the bar for another coffee, and come back to my table to jot some things down in my notebook. The lady at the adjacent table, who earlier asked me about my beliefs, now asks if I’m a journalist. I tell her about my blog. I give her the URL and she taps it into her phone. She looks down, shakes her head and smiles. ‘You’re here to take the piss, aren’t you?’ I smile back and shrug.

Our next psychic powerhouse is played to the stage, with ‘THOSE HEALING HANDS!’ booming out across the half-empty pub. Everybody looks thoroughly underwhelmed as a plump, haggard and deeply fed-up old woman slowly staggers towards the microphone. She doesn’t exactly fit the song: a dying walrus crawling towards the stage to ‘Rage Against the Machine’ would somehow feel less incongruous. This lady looks like she’d be far more comfortable having a wee sit down, a cup of tea and an empire biscuit by a three-bar fire than embarking on an exhausting mental battle against the dead.

I look around and smile to myself. This could be bingo night at an Old Folk’s Home (it really could be – we’ve already been sold raffle tickets). I feel like I’m inside an episode of Phoenix Nights, but I’m the only one who realises how funny it is.

‘Hello,’ says the ‘psychic’ (and I don’t have inverted commas big enough to place around that word), and the energy in the room is so palpable you can almost feel it. Her laconic Paisley drawl has a soporific quality. I’m convinced that the dead are only drawn to this woman because they see her as a kindred spirit. It might be worth checking for a pulse, or calling an ambulance.

Or the Ghostbusters.

Suddenly, she’s got a bunch of coloured ribbons in her hand. I’ve never heard of coloured ribbons being used to commune with the spirit realm before. It seems pretty arbitrary. What next? A packet of boiled sweeties? A basket filled with dead octopi? A tub of grout with Smarties sprinkled over it?

One by one, audience members file up to the front, take a ribbon, and sit down again as Paisley Pat throws out some ghost-talk. ‘Who’s got the heart problem?’ ‘Have you decided where you’re aw goin’ fur Christmas Day?’ ‘Are you going on holiday next year?’ I start to wonder if this is a psychic floor show or a fucking haircut.

A group of guys of student age, and appearance, are sitting together at a table fifteen feet or so up the hall from me. One of them has long hair and a grungy T-shirt. Another looks like the kind of guy who enjoys speciality ales and long games of Dungeons and Dragons. The last one looks a little like Andrew Cuanan meets Chandler by way of Seth MacFarlane. When they first arrived in the pub I couldn’t work out if they were full-on believers or sarky sceptics like me. I thought the long-haired guy looked like he might be into druidic runes, or carving spells into his skin with a sharpened thigh-bone, but Chandler and his ale-drinking pal didn’t fit my half-arsed profile.

I watch Chandler now as he’s listening to the ribbon lady, and I see an unmistakable smirk work its way over his face, the same one I’ve been fighting to conceal almost the whole time I’ve been here. I see you, Chandler. It’s especially obvious when he volunteers, and has to fight a laugh as the psychic tells him that he’s got immense psychic powers, too, and he should go to his local spiritualist church, as there’s a message waiting for him there. BT Callminder from beyond the grave. That’s some service.

Before the second and final break, Tibbs come back to remind us to fill out a dream card and pop it up on the stage so she can interpret them for us in the final section. Because I’m unashamedly me, I can’t resist jotting down a dream heavily suggestive of sexual deviancy and mescaline. “I have a recurring dream,” I start to write, “that I’m being chased by a wolf with the face of a budgie that just keeps shouting ‘My milkshake brings all the boys to the yard’. My penis falls off and I wake up wet.”

I’m surprised at myself for keeping it so clean.

I go over to Chandler’s table as the break begins. I want to enlist the students’ help in coming up with lots of weird-ass dreams for Tibbs to interpret. I was right about Chandler. We share a laugh about some of the evening’s more ridiculous elements, i.e. every single moment of it.

The final section begins. The ribbon lady from Paisley is off in a side-booth giving private readings for £40-a-pop, the psychic equivalent of a lap-dancer. Tibbs is back in charge. She picks up a piece of paper, reads the dream to herself and laughs like a tittering schoolgirl.

‘I don’t think I can read this one out,’ she says, almost blushing. Good work, boys, I think to myself. You must have come up with a cracker there. Tibbs apologises for the filth that’s about to fall out of her mouth, then proceeds to read it aloud. ‘I have a dream,’ she says, ‘that I’m being attacked by butt plugs.’

You can almost picture Martin Luther King up there, can’t you?

I find out later that it wasn’t Chandler who wrote this one, but a bunch of women who were sitting next to him. Those heroes.

‘What does it mean?’ I shout, when Tibbs seems reluctant to delve.

‘Well,’ she says, ‘When you have a dream like this, it means that you’ve got something inside of you, maybe a thought or a feeling, that you’re trying to keep inside, that you don’t want to let out.’

‘But what if the person dreaming the dream is Elton John?’ I holler out from the back of the pub.

Chandler bursts out laughing. A few people snigger.

‘That would be an organic dream,’ replies Tibbs, matter-of-factly.

‘An orgasmic dream you mean!’ shouts the woman to my right. The place ripples with laughter.

This is what I came here for tonight. To be the bad boy up the back of the class, causing a rumpus and generating plenty of material.

Tibbs reads out my dream next, the one about wolves and willies and milkshakes. She tells me it means I’ve got trust issues. She’s right about that. After all, I just paid seven pounds to two old women because they said they could speak to the dead, and then spent three hours watching them shuffling cards, twanging ribbons and reading out bits of paper.

And do you know what? I’d do it all again. What a world. What a town.

Movie Review – Joker

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Joker is such a gritty and twisted re-imagining of the Batman mythos that the only way Batman could exist in this new world would be as a fascist enforcer in the mould of Judge Dredd, looking to preserve the status quo, and perhaps thump down on the sub-human scum who repaid his father’s benevolence with death and chaos.

Back in the days when Batman first scowled through the comic panes at a generation of youths whose fathers and brothers and uncles and childhood friends were about to go to war, society still clung to its belief in the quintessential goodness of the patrician class and its unassailable right to rule, in all its patriarchal glory.

The masses, particularly the American masses, believed that wealth was an emblem and consequence of hard-work, success and moral probity (many still do). The more money you had, the better you were. These days the left-leaning zeitgeist favours the idea that the ruling elite is inherently corrupt, a view that’s perhaps closer to the truth of human nature than the one that was sold to the war generations.

The fortunes amassed by billionaires like Thomas Wayne are increasingly seen as fortunes stolen from the common man and woman, or at least made upon their breaking and broken backs. The billionaires of the 2000s have been re-framed as walking black holes of greed; sucking out souls, opportunity, money and autonomy from states and whole nations, in the process helping to create the very conditions of inequality, oppression and violence that figures like Batman spend their nights wading through and fighting against.

In this movie, the good guys aren’t necessarily good, and the bad guy’s aren’t necessarily bad. Hence the Joker isn’t some unknowable force of murderous mayhem like Heath Ledger’s, nor a gangster whose evils have been amplified by a vat of toxic ooze like Jack Nicholson’s, but a very real product of his domestic and social environment. This Joker is the most human incarnation of the infamous villain, and all the more terrifying for it.

The intensity of Phoenix’s performance – how he seems to inhabit the very bones of Arthur Fleck; how his face no longer seems his own – makes watching Joker a heavy, visceral, fascinating, and often extremely uncomfortable experience. It’s a staggeringly brilliant evocation of mental illness; a disturbingly detailed and earnest exploration of frailty and rage. Arthur’s trademark laugh, triggered at times of stress and trauma, is chilling to the point of being blood-curdling. Phoenix makes you believe in, and feel for, Arthur Fleck, even when he’s shooting men in the back or bludgeoning the head of a betrayer off a door-jamb. Even at the very apex of his madness, we feel for him.  He’s vulnerable. He’s the underdog. He’s capable of great kindness.

Arthur Fleck’s a good boy. He loves his mother. He loves chat-show host Murray Franklin. He wants to be Murray Franklin; he wants to be respected by him; he wants Murray to be his father. Arthur wants to make people laugh. He wants to be noticed. He wants to be famous. He longs to be a somebody. He wants to be loved.

But piece by piece, slowly but surely, Arthur’s innocence and certainty – his very reality – is stripped from him by the society and institutions around him, as everything and everyone that ever meant anything to him betrays or fails him. Each time a layer of his vulnerable psyche is pulled away it’s replaced by anger and madness until finally, tragically – and, of course, inevitably – all that’s left of Arthur is the raw, open wound of Joker – a name bestowed upon him by his fallen hero, Murray Franklin.

Heath Ledger’s Joker was closer to a trickster God from Norse legend than a living, breathing human being; a creature with no history, or connections: an agent of pure chaos. But his and Joaquin Phoenix’s Joker share, if nothing else, a multiplicity of possible origin stories. Where Ledger’s ever-shifting tales about his disfigurement, his very Jokerness, are borne of lies and delusion, Phoenix’s Joker is composed of a roulette wheel of possible root-causes:  who and what made him?

Was it his mad mother? Was it his own sprawling mental illness? Was it ideological cuts in funding to mental welfare organisations? Was it the harsh realities of a life lived in a pervasive, dog-eat-dog capitalist society? Was it rising inequality between the very richest and the very poorest? Was it our narcissistic cult of celebrity? The emotional toll of being rejected and humiliated by two father figures (Wayne and Franklin)? The broth of resentment, cruelty and hatred bubbling away on the streets?

The rioting, discontented masses of Gotham come to revere Fleck/Joker as the emblem of their violent movement – the hero of the underclass – but the movie is careful not to make that same mistake. Even when Fleck/Joker delivers a speech live on camera, admitting to murder and raging at society, moments before executing Murray Franklin (De Niro’s casting as talk-show host Murray Franklin is a nod both to Taxi Driver, with which Joker shares not only De Niro, but much of its tone and aesthetic, and King of Comedy, in which De Niro plays a crazed narcissist and wannabe comic who holds a talk-show host hostage in order to secure his big TV break) he doesn’t exhibit the confident, steely oratory of a rebel-in-chief. His words are the garbled, urgent outpourings of a man whose brain is electric with grief and madness; a man who only moments ago planned to turn the gun on himself instead of on Murray Franklin.

If you aren’t rooting for and empathising with Arthur Fleck in the film’s first half, then you’ve got no heart; but if you’re still rooting and cheering for Fleck once he’s jettisoned the last of his fragility and humanity to fully become Joker, then you’ve probably missed the point somewhere along the line.

‘Joker’ blends past and the present, fact and fiction, fantasy and reality, infecting us with the uneasy sense of a world, or worlds, constantly shifting beneath our feet: we’re us, we’re Fleck; it’s Gotham, it’s New York; it’s present-day, it’s the 1970s; people are real, people are illusions; Arthur Fleck is a good boy, Joker is a bad boy. The crowds that tear Gotham’s streets apart are products of the hubris and lies of capitalist demagogues like Trump, but their behaviour more closely allies them with the supporters of people like Trump. A bunch of angry clowns. What is truth, what is lie, who must live, who must die?

As Fleck travels through the flaming streets of Gotham in the back of a squad car, he looks like a man who finally gets the joke. The mayhem outside matches the mayhem inside his head. He doesn’t have to fit in anymore, because the world has changed to fit him. Moments later a stolen ambulance thumps into the squad car. Arthur Fleck is pulled from a glass-fringed aperture in the wreck of that rammed and wrecked squad-car. He’s laid on his back on the bonnet, helpless, bloodied and confused. The figure who soon takes his first steps upon the bonnet of that squad car, to riotous bays and cheers, is Joker. Arthur Fleck is dead, all vestiges of mercy and hesitation gone from his flickering mind. He is reborn. While Arthur might have let a friend who showed him kindness walk away from a blood-bath, Joker has no such instincts, as evidenced by the bloody footprints peppering the floors of Arkham Asylum at the close of the movie.

We begin and end the movie in a psychiatric facility. Given how unreliable the protagonist is – how many times we’re fooled by his false perceptions – how much of what we see in the movie is actually real? Is the Joker real… or is he fake news? Are we nothing more than a symptom of Arthur Fleck’s madness? The observers he’s always craved…

“You get what you fucking deserve…” utters the Joker. It’s a line that’s swiftly adopted by the rioters, becoming their mantra and mission statement. It could also be the movie’s; the nihilistic spine that runs throughout.

Did Arthur Fleck deserve what he got: a childhood of poverty, abuse and madness? Did Murray Franklin get what he deserved? Did the Waynes? Did those guys on the subway? Did Gotham?

Batman will one day be the hero that Gotham deserves, but Joker is the villain that it fucking deserves right now.

And it’s the movie we need.

VERDICT: 5 STARS

Jacob Rees-Mogg – By the Nanny Who Knows Him

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Jacob Rees-Mogg is without doubt the hippest man on the planet right now. Not only has he recently changed his name to Bae-Club Rees-Vlog, but next week he’s at the MOBOs performing his brand new hip-hop single ‘F*** YOU I WON’T DO WHAT YOU TELL ME!’ (his song about the London Fire Brigade) I can just see him on stage now, twirling his sceptre, cocking his top-hat and drawling something devastatingly polite into the microphone: ‘You know, one is rather fond of severely inconveniencing them bitches, if you’ll permit me a momentary lapse in grammar, all you people out there who fiercely indulge in intercourse with the women who gave birth to you.’

But it wasn’t always thus. Believe it or not, Jacob used to be considered a little starchy.

I know, right?

And I know better than most. I was his nanny. I adored that be-spectacled little ubermensch so much that I decided to stay on in his service even from beyond the grave. I’m his ghost nanny, you see. The perfect nanny for the Rees-Mogg family, as it turns out, because they don’t have to pay me anything (Nanny McNo-Phee).

Jacob’s great-grandfather, Hogg-Lees Rees-Mogg

They’re a lovely bunch, the Moggies, despite the fact that it was Jacob’s great-grandfather who killed me. He’d been drinking French furniture polish and sniffing gunpowder all day, and said he could smell ‘the whiff of the pickaninny about me’ before beating me to death with a copper serving spoon. It was a rare lapse in etiquette for a man who usually comported himself with impeccable manners: he of all people should have known that it’s a grapefruit spoon for murdering servants.

Still, my brutal murder was at least in-keeping with Rees-Mogg family tradition. Jacob’s great-great grandfather blew my mother’s face off with a blunderbuss because she ‘looked at him a bit Chinese’ as she was making him a swan  sandwich. What a character! I just feel disgusted that I never had any kids of my own so that Jacob could one day employ them in some menial position before smashing them to death with a signed copy of the King James Bible.

I’ll never forget when little Jakey was born. His mum and dad were so over-joyed they could barely contain their lips from breaking into a tight, perfectly straight hyphen. Little Jakey slipped out of his mother’s clam-pit without any fuss at all, as nonchalant as a complete bastard of a politician lounging insouciantly on the front benches of the houses of parliament during a crucial debate. I’ve never seen a child look so absolutely, completely, utterly and adorably full of withering indignation and arrogant rage. A wee smasher! The man who would one day write the political best-seller “It’s HIS-Tory, not THEY/THEM-Socialists” was already there in that tiny, pale, baleful little creature.

Not fifteen seconds later, he spoke his first words; an Oscar Wilde quote: ‘All women become like their mothers. That is their tragedy. No man does. That’s his.’ Not moments later, his grand-father beat him half to death with a hickory stick for not having said it in ancient Hebrew.

Jakey was a delight growing up, he really was. It took him a long, long time to wean himself off breast-milk. Even now he still enjoys the odd suckle on my ghostly titties. And sometimes I like to soothe him by turning invisible and gobbling him off in the cabinet room. But that’s just what a good nanny does, by golly.

When Jakey was about six he used to burn ants with a magnifying glass, except instead of ants it was working class people, and instead of a magnifying glass it was a shotgun. Sometimes he’d give them a sporting chance and chase them across his private minefield, promising to let them live if they could guide themselves safely to the other side with the instructions he’d painted on the ground in Aramaic.

He was nice like that, you see. Always trying to better people. He couldn’t help himself. That’s why he became a conservative, of course. So that he could help people more fortunate than himself, so one day they’d help him become as fortunate as them. And then he could just help himself to, you know, whatever the fuck he liked.

I remember his first proper big boy’s bed was made from the pelts of endangered monkeys. Well, not strictly accurate. It was the entire monkeys it was made of, all of them still alive, bound together like a raft. He took great care to angle the monkey anuses away from his face, but if a monkey did happen to shit on him as he slept, he’d just wake up and throw it to the crocodiles. Sometimes the monkeys would get lucky, and the crocodiles wouldn’t eat them, because they were already full from eating too many Malaysian servants that day. Well, I say ‘get lucky’. If a monkey survived the croc pond little Jakey would chase it round the garden and smash its brains in with an ivory cane, before masturbating over its tiny little corpse. Even to this day I can’t take him to the zoo without drugging him first.

Most of the time, though, Jakey would put his erections to good use. Once a week he would get a servant to jerk him off with an antique oven-cosy into a tiny crepe pan, which he’d then order his pastry chef to make into a man-muck omelette for his ground-maintenance staff, reasoning that a little of his DNA in their nutritious snack might make them a bit smarter by-proxy, the self-abusing, crotch-sniffing bumpkins that they were.

I remember as he got older and became a more proficient wanker he started shouting out in Latin at the point of climax. Once he accidentally gibbered out an ancient gypsy curse which he unknowingly placed upon his pet horse, Titus Andronicus. It was a literal gypsy curse in that it turned his horse into an actual gypsy. It still looked like a horse, but you could just tell. Poor Jakey was distraught at having to put it down. Even still he was smart enough to use a harpoon gun so there wasn’t any risk of being contaminated by its filthy gypsy blood.

Well, Jacob is all grown up now, but if you go into his old room it’s exactly as he left it from his wild teenage years: posters of Jesus on the wall; the Turkish hookah filled with orphan’s tears; his extensive book collection, including Enoch Powell’s best-seller ‘Europe Can Suck My Bendy Banana’; his blow-up Maggie Thatcher doll, with stolen-milk stains around the anus; his flared knickerbockers; and his seed-encrusted copies of ‘Murdered Monkey Monthly’.

And, do you know, he’s never stopped making me proud. Just this week he said something that made me tingle with joy. ‘Nanny,’ he said, ‘If you weren’t already dead, I’d jolly well kill you with my priceless antique letter-opener that once belonged to Adolph Hitler.’

The big-hearted, sentimental fool that he is!

Movie Review – Philophobia: or the Fear of Falling in Love

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Philophobia: or the Fear of Falling in Love (2019, Gravitas Pictures)

Released Blu-Ray/VoD: November 12th

Director: Tyler Cole

Philophobia: or the Fear of Falling in Love follows Damian Booster (Aaron Burt), a popular LA podcaster and perennial playboy, as he wrestles with his true feelings in the wake of an ultimatum from his non-Bechdel-test-passing girlfriend, Danielle (Emily Pearse): Come meet my mother for brunch in a few days to demonstrate your commitment to commitment, she tells him, or kiss our conjoined, couple-shaped ass goodbye.

One man’s tragedy is another man’s comedy, after all; and one man’s love story is another man’s horror. So why not blend them all together? Damian spends the duration of the movie dealing with a mounting crisis of mind and soul, his fear of falling in love manifesting itself through a succession of scary movie tropes.

Accompanying Damian into this hinterland of horror, hopelessness, har-de-hars and horniness is his visiting friend Alan (David Lengel, who resembles a sort-of elongated David Schwimmer) and a nightmarish assortment of neighbours and nutty, night-time denizens of the town.

First-time film-makers Tyler Cole (the movie’s director and co-producer) and Aaron Burt (the movie’s writer, co-producer and star) also know a little something about suffering for love, having gone through extraordinary struggles to commit their vision to the screen. Between them they’ve sacrificed jobs, homes, savings and sanity. Tyler even sacrificed bodily autonomy by following through on a promise to have his wrist tattooed with the logo of a hire company if they agreed to lend him audio-visual equipment for the movie.

So was the struggle worth it? Will Tyler smile wistfully each time he looks down at his branded wrist, or will he find himself wishing that his inked limb could join the discarded hands of Luke Skywalker and Ash Williams in some fleshy, rotten pile or pit somewhere?

Mercifully, Tyler’s self-vandalism wasn’t in vain. There’s much to enjoy in Philophobia: or the Fear of Falling in Love: it’s fun, inventive, ambitious, creepy, consistently surprising, rarely dull (with the possible exception of a clunky scene in which Damien invites Alan to be a guest on his absolutely abysmal podcast) and occasionally laugh-out-loud-funny. Burt is a down-to-earth lead; a great straight-man who gives generously to his fellow performers, both on the page and on the screen. With his help, and Cole’s, the cast brings a naturalistic, quasi-improvised feel to the movie that really fits its style.

The dialogue can occasionally feel clunky, but when it works, it works brilliantly, especially in those segments when the movie activates the ‘com’ portion of the horr-rom-com triangle. Its greatest assets in the laughter stakes are Nancy (Carly Reeves), a nutty, stream-of-consciousness-spouting wild child from the neighbourhood, and Travis (Darren Keefe Reiher), Aaron’s boozing, belligerent next-door neighbour. Nancy and Travis may be broad characters, bordering on caricature, but they’re so well played, and outrageously funny, that you won’t care a jot.

Burt and Cole have achieved so much in this movie with such limited resources. Visually, some of its finer flourishes wouldn’t look out of place in a low-budget, studio-funded project. Never-the-less, while the film has lofty ambitions, and an undeniably unique and fascinating conceit, it never quite manages to live up to its full potential.

Experimentation with form and content in cinema is to be lauded. Sometimes the weirdest of gambles can push the boundaries of what’s possible, or even re-invent cinema itself. But melding such a disparate trinity of genres into a coherent, meaningful shape is a tall order. Horror and comedy make great bedfellows, as do romance and comedy: it’s the threesome that’s the tricky part.

Ultimately, Philophobia: or the Fear of Falling in Love never quite coalesces into something that fully justifies its Frankensteinian approach to film-making. Instead, we get a very entertaining, mutant mish-mash of The Shining, The Hangover, Swingers and every generic slasher and romance flick of the 80s; well-crafted vignettes that work well in isolation, but rest uneasily when sitting next to each other.

The responsibility for the movie’s structural problems lies more with the composer than the conductor. After all, the success or failure of the movie’s central, genre-busting conceit rests solely upon the shoulders of Damien’s character, and, alas, he hasn’t quite the weight or the heft to carry the burden. He feels more like a cipher than a real guy; a blank-faced agent of plot. As a consequence his breakdown, and subsequent breakthrough, feels hollow and unearned.

It perhaps would’ve served the story better had Damien’s sense of horror been wedded to some disturbing pattern from his or his family’s past, or had sprung from some long-buried guilt or shame. As it stands Damien is nothing more than a mildly narcissistic man-child who’s reluctant to grow up and sheath his shaft, like most of LA’s aspiring entertainers, and, I’d wager, a significant portion of the planet’s male population. His journey, like him, is shallow, whatever he appears to have learned about love by the end of the movie.

Tyler Cole makes up for the short-fall in tone and theme by really throwing himself into his role as director, clearly relishing the opportunity here to flex his creative muscles. He must’ve felt like an actor whose agent had secured him every single role in a movie, the chance to run free and do, and be, everything at once.

As Cole deftly jiggles, juggles and muddles the aesthetics of three distinct genres, it’s hard not to see the finished movie as an extended demo reel for his extensive talents. This could well be Tyler Cole’s ‘Scott Derrickson’ moment (a director whose path led him from Hellraiser: Inferno to Doctor Strange).

Cole’s use of light, and lighting, is particularly strong – bathing the dingy rooms and corridors of Aaron’s apartment complex in the red and blue hues of his shifting moods – as is his understanding of how to build and release tension, all of which serves the eerier moments well. He also knows how to get under your skin with a good jump-scare.

It’s just a pity that the movie makes you feel terror more effectively than it does relief and happiness for the protagonist’s plight.

Who knows? Maybe that’s an apt description for love in the real world, too.

THE VERDICT

Philophobia: or the Fear of Falling in Love might not inspire you to tattoo yourself with its logo, but you won’t come away feeling short-changed.

It begs repeating that this is a first-time movie whose creators should be celebrated for their tenacity and dedication; whose vision and ambition should be applauded. Just because I judge it to have failed in some of its loftier aims, doesn’t mean that I consider it a failure. Far from it. It’s raw. Brave. Bold. Original. Haunting in places, hysterical in others.

It’s clear that Burt and Cole are both going places. Don’t be frightened to join them on the first leg of their journey.

You might very well end up falling in love with their work.

Watch the trailer here

What not to watch with kids: a guide

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Half the joy of raising children is in reconnecting with your own childhood. Not for its own sake – which would be regressive, selfish and honestly a bit weird; a few steps removed from strapping on a nappy and supping from a giant milk-bottle as a prostitute becalms you – but in order to sieve out the things that gave you the most joy; your best and happiest memories, so you can pass them down the generational chain: places you went, games you played, movies you watched, books you read.

If you’re as hellishly impatient as I am you’ll want to hit your kids in the hippocampus with a megaton of memories all at once – every magical experience or mystical moment you ever experienced from the age of zero to fifteen – but you can’t. You really can’t. Nor should you. Not only because your kids are entitled to a childhood as free as can be from the benevolent dictatorship of your nostalgia, but also because four really isn’t a great age to be watching the Evil Dead movies.

Let’s keep things focused on classics and pop culture (and classics of pop culture).

What criteria should be used to judge how age-appropriate a cherished movie or TV show is for your little cherubs? After all, each kid has different triggers, thresholds and tolerances. Some kids might quiver at the mere mention of a monster; others might welcome a harrowing disembowelling scene with little more than a yawn (I swear Peppa Pig just keeps getting edgier).

Obviously, there are some lines that should never be crossed: for instance, it’s probably best to leave your extensive VHS collection of porn up the loft where it belongs. Arrange to have it donated posthumously to the ‘Museum of Vintage Depravity’ or something. But keep it away.

And it’s probably best to avoid movies that feature rape, torture, murder, abuse and realistically rendered sex scenes, unless you’re purposely trying to play chicken with social services (or preparing your children for life in Airdrie).

I think the trick is to temper your own selfish desire to fill your kids’ heads with the pop culture that shaped you, with the very real possibility that, seen too soon, some of that shit could have them reaching for the citalopram, or sharpening a set of steak knives in anticipation of a long career carving up the corpses of hitch-hikers.

I can understand the urgency, though. The longer you wait to introduce them to those dorky B-movies or old sci-fi and action series you enjoyed as a nipper, with sets as ropey as the dialogue, the more you risk your kid collapsing in fits of laughter at the sight of a polystyrene man having a fight with a rubber dinosaur, instead of cowering behind the sofa like they’re supposed to. The farther your kids drift from your parental tether, the more they’re exposed to the shiny and the new, and the less they need you and your hoary old ideas. One day you, and everything you represent, will be consigned to the bottomless chasm of uncoolness inside your kids’ heads. Best to watch episodes of old Doctor Who and The A-Team while you still can, as quickly as you can.

Obsolescence isn’t the only problem. Sometimes it’s tone. I’ve introduced my little guys to fondly-remembered, family-friendly classics from the 1980s only to find myself lost in a whirlwind of misogyny, violence, swearing, gun-play and smoking. I’m not a fan of the revisionist zeal that’s sweeping through our society at present, ‘cancelling’ those beloved old shows and movies that don’t conform to the strict dictates of our ‘enlightened’ new age, but, equally, I’m not a huge fan of having to contextualise casual domestic violence for a four-year-old child mid-way through a kids’ film. Thanks, Short Circuit.

Early on in Short Circuit a female character’s abusive ex-partner throws her down a hill and threatens to kill her dog, after which she just gets up, gives a goofy little smile and gets on with her day. It’s never mentioned again. Life lessons, huh?

There’s a tremendous amount of gun-play in Harry and the Hendersons, but that’s okay, because the movie smuggles a pretty hefty anti-hunting message across the finish line. A little harder to deal with Ray Stantz and Peter Venkman constantly smoking in Ghostbusters, though, and I don’t mean their over-heating proton packs.

‘But, Daddy, I thought you said that smoking was dirty and bad, but the Ghostbusters are goodies, aren’t they, so why are they smoking?’

‘…THE GHOSTS ARE FORCING THEM TO DO IT!’

I watched the Hellboy movies with Jack (5 now, 4 then), the Ron Perlman ones. Not exactly typical family-friendly fare, sure, but I figured that since ‘crap’ was the strongest swear word I could recall featuring, and the violence was mostly cartoonish, it would be okay. Regrettably, there was significantly more stabbing than I’d remembered. In fact, Hellboy’s surrogate father is stabbed to death by a hideous clockwork Nazi assassin. That doesn’t happen in The Fox and the Hound.

Despite the occasional flashes of inappropriateness, Hellboy was a good gamble. Jack emerged from the two movies with a magnified sense of wonder. He admired the tough-talking demon’s nobility, fragility, honour, and willingness to sacrifice his needs, even himself, for love and friendship. We talked about the motivations of the characters, and touched upon themes of sadness, loss, and when it’s acceptable to use physical force to defend yourself or others.

In any case, there’s a clear difference between movies like Hellboy, and movies like A Nightmare on Elm Street or Hamburger Hill, the latter types I’d never dream of showing him until he’s at least eight… I’m joking, you turds (Ten). Common sense, and an honest and sensitive appraisal of your kids’ mental acuity and emotional maturity should serve as your guide. Within limits, of course. I refer you back to the porn in the loft, and the movies containing hard-core sex and violence. Even if your kid’s sitting there in a reclining chair at the age of seven smoking cigarillos and quaffing brandy, discussing interest rates for first-time buyers, you should still resist the temptation to show them the French movie ‘Irreversible.’

Sex vs Violence

For some reason, violence is a lot more palatable to parental sensibilities than sex. Well, to this parent anyway. Perhaps it’s simply a lot less awkward to explain why someone might feel moved to punch another person in the face versus why that woman keeps shouting ‘Jesus oh Jesus’ as the man behind her pulls an angry, sweaty grin and shouts ‘That’s what I’m talking about!’

Both Jack and Christopher loved Kindergarten Cop, but the movie had the rather unfortunate – and undeniably hilarious – side-effect of introducing Jack to the line, uttered by one of the kids in the movie: ‘My daddy spends all day looking at vaginas’ which he still occasionally quotes (though I counsel him never to repeat it outside the home). I’m readying a telegram of thanks to big Arnie S if Jack grows up to be a rich and successful gynaecologist.

My kids have also watched all three Austin Powers’ movies. Well, that’s not strictly true. They’ve watched all three Austin Powers’ movies minus the bits that feature coded and explicit sexual references, which I either fast-forwarded or babbled loudly over. ‘Daddy, what does horny mean?’ isn’t a question I’m ready to tackle, even though I already know the answer will be ‘ask your mother’.

Fat Bastard was quite a problematic character. I had to counsel Jack only to use the word ‘bastard’ in the context of this specific character’s name, and never to use that word outwith, or indeed inside, the home. Just don’t say ‘Fat Bastard’ is a pretty great rule, especially since he might one day use it on me. Still, both kids can do a mean impression of the fat bastard, and there aren’t many things funnier in this world than a 2-year-old angrily shouting, ‘I’M GOING TO EAT YER BAY-BEH!’ Ditto Dr Evil, whose ‘zip-it- and ‘shhhhhh’ shenanigans are always quoted whenever we want each other to shut up.

Both my kids have watched Drop Dead Fred, and both of them love it, especially our two-year-old, who’s probably watched Rik Mayall strut and sneer his way through Phoebe Cates’ second childhood/first breakdown about thirty times and counting. I don’t know how many times he’s pretend-wiped bogies down my cheek and called me ‘Snotface’, but I do know it’ll be a long, long time before I explain to them why the ‘Cobwebs’ line is funny.

Throw the book at them

If sex is worse than violence in terms of its visceral impact upon a child’s brain, then I’ve found that books are worse than movies. Words have more power than pictures, moving or otherwise, because words can burrow into your brain and conjure their own, darker and unbound, pictures. Books have a greater power to terrify and disturb than even the scariest and most shocking of movies – for those blessed with powerful imaginations, in any case.

My primary four teacher recognised that within my pigeon breast fluttered the soaring heart of a story-teller, so loaned me a book on Greek myths and legends to help my imagination take flight. It was a great honour, and I remember feeling very special indeed. The book definitely boosted my imagination, mainly because I had to completely invent and imagine every aspect of the Greek myths and legends from looking at the picture on the front cover. I never read the fucker, you see. The book itself has now passed into legend; I was supposed to return it, or pass it on to another clued-up kid, but it went missing. Maybe a three-headed dog ate it, along with my homework.

As parents, my wife and I read to our kids every day. They’ve got enough books between them to open their own library, but we still manage to come home from the actual library laden with teetering towers of books and comics. The more, the better, I’ve always thought, when it comes to books. You can overdose on a lot of things, but not words. Books aren’t just stories: they’re hives of information on how language works; how the world works; how people think and talk and behave; how different people see the world; the multiplicity of creatures, places and cultures on the planet past and present (and future, if it’s sci-fi). They teach us the benefits of pushing the boundaries of both the permissible and the possible.

Books expose. Books challenge. Books enrich and enliven. If you want to see the dangers of a world without books or, worse, a world with only one, then look at any society ruled by the iron-fisted acolytes of any of the world’s monotheistic religions (perhaps one in particular). Books are freedom, which is why they’re the first thing to burn when fascist, theocratic or totalitarian rulers seize control of a people or nation.

I saw a book on Greek Myths and Legends in the library a few weeks ago (toned down for children, of course). Let’s right those past wrongs, I thought. Let’s take home a book on this worthy subject and actually read it this time….

The next day I had to return it to the library. I’d only read ten or so of its pages to the kids. The casual violence, matter-of-fact savagery and brutal decapitation of the Minotaur story was more than their sensitive little souls could handle. And mine, for that matter.

I think we’ll just stick to Austin Powers and Hellboy for now.

The Use of Silence in TV Shows

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Silence isn’t just an absence of noise. It’s a tangible thing: heavy; sentient; alive. It can show us beauty in a smog-shrouded city-scape or death in the red sky of a savannah sunset. Through it we can commune with the majesty of God, or gaze into the eternal nothingness of His great echoing absence. It’s everything and nothing: a swallowing void into which we pour our deepest fears and the inexhaustible darkness of our collective imaginations.

It’s perhaps no surprise then that silence has traditionally found its greatest expression on the big screen. The cinema, with its pews arranged to face a window that looks out upon infinity, has always felt sacred and limitless: a place of wonder and worship; catharsis and contemplation; desire and dread: a holy cathedral to all that makes us ‘us’.

Cinema’s early audiences screamed as trains careened towards them from the other side of the screen; watched in a mixture of horror and wonder as workers toiled silently and hopelessly in the pits and caverns beneath the mighty husk of the metropolis; and giggled with glee as Keaton and Chaplin made an art-form of teetering precariously on the ledges of terrifyingly tall buildings.

Even when sound entered the medium, silence continued to steal all of the best scenes. Think of the absolutely staggering sequences that bookend 2001: A Space Odyssey; or the poignant and funny near-wordlessness that dominates the first twenty minutes of Wall-E, or the long, lingering shot on Jack Nicholson’s face as he sits by the asylum’s open window near the heart-wrenching climax of One Flew Over the Cuckoo’s Nest.

While cinema has always been the perfect conduit and capsule to conduct and contain the horror, majesty and beauty of silence, the TV was – in its early years at least – too small to hold it. TV was merely the noisy little contraption that chirped and chattered away endlessly in the corners of our living rooms. It sat there, yakking, chanting, warding off silence and its concomitant notions of death and infinity like a priest exorcising demons. It didn’t want to push the boundaries of the possible, or open our minds to infinity: it just wanted to distract us from the loneliness that marked our existence – and occasionally sell us cigarettes and washing powder.

It’s only relatively recently that advancements in technology, distribution and access have allowed TV to raise its ambitions and muscle in on the awe-game. While it’s true that TV can never compete with the sheer size and raw, herculean power of cinema, it’s also true that it doesn’t need to: TV incontestably plays the better long game. It can go further and deeper into the characters and worlds it creates, reaching into our souls and the darkest recesses of our minds and imaginations for weeks, months, even years at a time.

Our couches, arranged around the intimate half-dark of our living rooms, are our new sites of worship. The roles have been reversed: cinema is now the medium that seeks to sell us things in as noisy a fashion as possible – circus-style spectacles, franchise events, merchandising – while TV has become the portal through which we’re granted access to the whole beautiful ugliness of our humanity: to truth; to terror.

To silence.

A hush hits the box

Silence has a profound effect upon us precisely because it’s such a rare commodity in the blaring cacophony our modern lives have become. Human hubbub is ubiquitous, unbroken, and as addictive as it is wearying. Our homes thrum, hum and creak; our cities are non-stop symphonies of honks and thumps and clangs, and even the fabled semi-silence of the countryside is a myth belied by the daily background chitter of chirps, hisses, whines and trills: a city of hills and trees.

These days we actively seek out silence by going on retreats, but in our deep, primal past, silence was something to be retreated from; an unwelcome curse; a potentially fatal gap in our knowledge of the world and the moment. We scrutinised it for the faintest sounds of footfall, for the barest rustle or creak, never able to relax, perpetually wondering if it was our fate to have dinner, or become it. That’s why silence, when it comes, hits us like a hypnotist’s finger-click, snapping our senses to attention.

When writers and show-runners tap into this power it can yield striking results. Silence, when used sparingly and with purpose, can make a sequence or a whole episode stand out from the rest of the canon. It can highlight or strengthen a message; lend profundity to the smallest of gestures; or magnify a tone or mood, as the following examples show us:

Better Call Saul (and Breaking Bad before it) routinely lets its rich, luscious, uniquely-styled visuals say what needs to be said against a canvas of silence, in punchy and powerful sequences that are cinematic in both their scope and execution. The Americans, too, knows when to stop talking and let the music tell the story instead, most poignantly in its emotionally resonant series’ finale, ‘START’.

Patrick McGoohan’s wilfully baffling series The Prisoner used silence to amplify the strangeness of the village and highlight the hopelessness of Number Six’s predicament in its weirder-than-usual, highly atmospheric episode ‘Many Happy Returns’.

The Wire once pared down its dialogue to the point of near-silence to give us a memorably funny sequence featuring McNulty and Bunk solving a crime with only heavy, knowing looks and various whispered permutations of the word ‘fuck’.

No matter the reason it’s used, silence always has something to tell us.

The Fifth Dimension

While TV’s early years may have lacked a certain artistry there were still plenty of shows that pushed the medium to its limits, and weren’t afraid to use silence as a creative tool. Many decades before the X-Files was even a government-sanctioned twinkle injected into Chris Carter’s eye against his will, The Twilight Zone used silence both to disturb and distract.

In its second season episode ‘The Invaders’ a lone woman in an old wooden shack-house in the middle of nowhere receives an unearthly visitor of unexpected dimensions: namely, a flying saucer. It’s so tiny it’s able to land undetected on her roof.

The only sounds that can be heard for the bulk of the episode are the woman’s screams and shrieks as she’s hunted, prodded, shot and burned by the proportionately tiny invaders, and the zaps, bangs and crackles of their tiny weapons as they do so. The woman’s very pure fear – and by extension ours – is amplified by the silence, which drifts through the house like a gas, slowly suffocating our senses and cutting off our usual reserves of comprehension and comfort. Our own fear centre takes centre-stage as narrator of the piece, imagining the very worst of fates within that oppressive cloud of quietness.

The silence occupies our adrenal glands just long enough for the rug to be pulled out from under us in the closing moments of the episode, turning the tables on we the human audience and the tiny invaders both, who are revealed – in a sublime twist – to be one and the same.

Last year, The X Files – a show that owes an unimaginable debt to trailblazers like The Twilight Zone – also dedicated an entire episode to (near total) silence. The snappily-titled eleventh-season offering ‘Rm9sbG93ZXJz’ used silence to inject novelty into the show’s decades-old format, and to magnify the horror of one of the foremost terrors of our age: the rise of the machine.

Mulder and Scully spend most of the episode’s run-time fleeing from a succession of remorseless automata through a patchwork landscape of re-appropriated sci-fi tropes, with barely a word spoken between them until the final scene. Throughout their running of the gauntlet we meet a vengeful electronic waiter, an over-zealous computerised taxi-cab, AI drones that swarm like angry wasps, and a HAL-like house with murder on its mind. Most of the words spoken in the episode are issued by machines and appliances, all eerie facsimiles of the human voice.

Their voice – which is really our voice – has been foisted upon them to unambiguously establish their status as the new slave class. But who’s really calling the shots here? It’s a smart, stand-out episode that not only works as a cautionary parable about our relationship with technology, but also as a commentary on the mistreatment of human workers in the service industry. We mistreat them to our detriment and at our peril.

However, the real horror in Rm9sbG93ZXJz doesn’t come from the machines and their ever-evolving sentience, but from our own species’ tacit decision to abnegate our existence to them. The silence is apt because it echoes and reflects our own silence in the face of the gadgets and gizmos that have rendered us mute. For proof of this abnegation look no further than the street outside your home, or around the room at your nearest and dearest. Or even down at your own hands.

If machines one day have a louder voice than their human creators, it will only be because humanity made the choice to surrender its voice to them in the first place.

Muted Mirth

Silence needn’t always have ‘something’ to say, or at least something profound to say. Sometimes it can be used simply to make us laugh. In the Frasier episode ‘Three Valentines’ the show’s ever-clever dialogue takes a back-seat to a one-man, one-act bout of classic slapstick. Niles’ efforts to have the perfect Valentine’s Night are wrecked by mounting misfortunes that rise to a crescendo of chaos and culminate in a messy and mirthsome moment of tragedy. It’s a sequence that stands out and lodges in the memory, and that’s no mean feat considering that the body of work it stands out from comprises eleven seasons of one of the greatest and funniest sitcoms of the last fifty years.

Depending upon who you ask, you might get different answers to the question: ‘Why should silence make things funny, or funnier?’ Niles Crane himself might advance a psycho-philosophical theory, explaining that silence builds tension, and laughter vents it, so if someone’s anguish and misfortune is played out against a back-drop of silence it will always provoke a larger laugh response, provided the audience doesn’t become too accustomed to, and thus too comfortable with, the silence.

Bojack Horseman, on the other hand, might tell you that the only silence he’s interested in is silence from people asking dumb questions, and where’s the nearest bottle of vodka?

Bojack Horseman leaned into its whip-smart visual humour harder than ever in its refreshing, razor-sharp and almost entirely dialogue-free third season episode ‘Fish Out of Water’. It’s visually striking, unique, laugh-out-loud funny and endlessly rewarding, with gags planted everywhere you look (Mr Peanut Butter on an underwater bill-board: “Seahorse Milk: Keeps your seahorse baby from crying. Take it from me, a childless dog”).

While silence is of course used to convey Bojack’s sense of himself as a perennial outsider, it also serves to bolster the episode’s punchline. And what a bloody punchline.

The final stinger of Inside No 9’s first season episode ‘A Quite Night In’ fell somewhere in tone between the Twilight Zone’s and Bojack’s, but with an added barb of cruelty. Shearsmith and Pemberton, no strangers to the macabre and the hellish, confidently demonstrated with this episode that words aren’t necessary in order to craft something bleak, brutal, brilliantly observed, and – most crucially of all – incredibly funny.

You’ll definitely laugh at this episode: if only to break the unbearable tension of the silence.

The Sopranos and The Shield have nothing more to say

In life most of us abhor silence. We equate it with discomfort and awkwardness. We consider it dead air; a form of social suicide. I guess that’s why when some people come to re-imagine the world on television they leave it out.

Soap operas create universes where words pepper the air like automatic gun-fire. Some prestige dramas, especially those penned by Aaron Sorkin, advance the lie that our lives are an ever-spinning conversational whirlwind of whooshing dialogue and precision banter.

But real life is stitched through with – and often dominated by – silence, as anyone who’s ever been married will tell you. It’s normal, natural, perhaps even essential. David Chase knew this, and he let that truth bleed into the body of The Sopranos.

Chase described each episode of his show as a mini-movie, and that’s something that shines through in every aspect of the series’ production and presentation, from the award-winning writing to the exquisite cinematography to the pitch-perfect acting and directing.

Before its arrival in 1999, few drama series had been as cinematic in their scope or style. The Sopranos wasn’t burdened with antsy advertisers or interfering executives, and Chase was thus left alone to explore the full, gritty gamut of darkness, violence and silence in the hearts of both America and man.

Chase and his team would often linger on Tony’s hangdog expression, or gaze into, and sometimes through, his haunted eyes. Silence made Tony feel more real. One episode ended with Tony and his wife, Carmella, sitting across from each other at their breakfast table, suffering in the silence of the no-man’s land their marriage had become. And, lest we forget, the series itself was capped off with perhaps the most controversial stretch of silence that’s ever been committed to screen.

Shawn Ryan elected to end his great-and-gritty (and criminally under-appreciated) cop show The Shield on an ambiguous – but rather more conventional – note of silence, using it as a way to torture and imprison his anti-anti-hero (sic) Vic Mackey. While The Sopranos’ final scene is a masterclass in tension-building, and its climactic snap of silence a testament to David Chase’s brilliance, cunning and creative daring, it’s hard to shake the feeling that The Shield’s final scene in general, and its use of silence in particular, serves as a more fitting and affecting coda for its main character.

When you think of Vic Mackey, silent is perhaps the last adjective to spring to mind. Garrulous, manipulative, brash, swaggering, vengeful, cunning, bold, maybe. But not silent. Never silent. Much more than a gun, Mackey’s mouth was always his first line of attack – and defence, too; his mouth serving as both his baton and his shield.

Having recounted all of his many sins and criminal transgressions to Laurie Holden’s ICE agent in a bid to secure immunity from prosecution in the series’ penultimate episode, Vic had no justifications left to make, no lies left to spin. He had nothing left to say. More than that, though, he had no-one left to say any of it to. The members of his former strike team were either dead or in jail. His wife and children had escaped into witness protection – to be protected from him, no less – never to be seen again. He had turned in his badge. His former colleagues had turned their backs on him. Vic’s silence – both his own and that which surrounded him – was a manifestation of his isolation from everything he’d ever professed to love. It embodied and reflected his emptiness, his powerlessness.

You can see this in the final confrontation between Vic and Claudette. Vic sits across from Claudette in an interrogation room. She spreads photographs of Shane (former friend, accomplice and strike-team member) and his family on the desk in-front of them both. They’re dead. A murder suicide. Vic played his part in causing it, as Shane’s suicide note makes clear. Instead of using his gift of the gab to deflect blame and guilt, Vic sits, his grief, anger and loss rendering him mute. Finally, he explodes in anger.

As part of the condition of his immunity Vic has to take on a new job helping the government deal with organised drug crime. He doesn’t have a gun or a badge. He has a desk, where he’ll sit for years typing reports. No action, no duty, no badge, no power. Nothing.

For most of The Shield’s long final scene, Vic Mackey is alone in his new office. He’s completely silent. We don’t need to hear him talk. We can see it all in his face. He’s in prison. He’s in hell. He’s been personally and professionally castrated; reduced to human rubble. He’s become the very thing he’s always feared and hated: a faceless bureaucrat.

A siren wails outside his window. He opens a drawer in his desk, pulls out a gun and heads for the door. You know he’s smiling.

There you are, Vic Mackey. There you are.

Sometimes silence can say things all the more loudly for not actually saying them at all.

Hear, hear.

Ten More Things I’ve Learned as a Dad (2019)

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^^^ That’s not me, by the way. I’m a lot less handsome than that.

Anyway, without any further ado, welcome to the sequel to my 2017 blog ’12 Things I’ve Learned as a Dad’.

Supermarkets can be the site of your greatest successes, and your greatest defeats

Supermarkets can morph from ethereal paradises into branded hell-scapes in the blink of an eye. Lots of things can influence this: your children’s mood and tiredness; their sugar intake; the ascendancy of Jupiter in Mars; black magic; the Hong Kong technology markets; how much caffeine/codeine/cocaine/morphine you’ve had in the past 24-hours, and how many times that day you’ve found yourself fantasising about jumping into a Ferrari and then immediately driving off a cliff.

What contrasts. One visit, you could be wheeling your children up and down the aisles like something out of ‘Well-Behaved Victorian Family Monthly’. They’ll be helping you put things in the trolley while sticking close to it, flanking it like undertakers accompanying a hearse. They’ll be smiling beatifically at old ladies and saying things like, ‘Mother, I do hope you’ll permit me to help fold all the washing tonight.’ Text-book.

The next visit, your kids are like Gremlins who’ve been fed after midnight. You’ll be trailing a Godzilla’s tail of destruction behind you as they duel their way up and down the aisles like Sith Lords armed with French baguettes instead of light sabres. They’ll be running for the exit like Olympic sprinters (necessitating a dangerous, high-speed chase throughout the supermarket); they’ll be jumping out at old ladies from behind off-brand boxes of Bran Flakes; throwing down police stingers to immobilise people’s trolleys; wearing raw chickens as hats; substituting live grenades for kiwi fruits in the fruit aisle; staging riots and taking people hostages. NEVER take more than one kid to the supermarket on your own. EVER. Unless you’ve got a ready supply of analgesics or hallucinogens. Because you have a lot of weapons in your parenting arsenal, but out in public, there’s one thing you don’t have, which leads us very neatly into the next ‘Thing I’ve Learned’…

Your kids know you can’t use your ‘smash glass in case of emergency’ voice in public

My wife and I have never, and would never, strike our children, ostensibly because we’re not cunts, but that doesn’t mean that our house swells with the sounds of holy silence. Sometimes we have to shout. Sometimes we don’t have to shout, but we do it anyway, because we’re over-tired, because we’re human, because our sanity’s been worn down to a nub through having to ask the kids to put their socks on seventy-five-thousand times when we’re already half-an-hour late for something.

Shouting is always – well, usually – a last resort, though. You don’t want to use it so often that it either replaces smacking as a cruel and debilitating psychological punishment or loses its short-term effectiveness. Once that seal’s broken, though, it’s hard to put the red-faced genie back in the bottle. Especially since the genie might smash the bottle and attempt to stab you with the broken end.

But there’s a particular shout that all parents have: the ‘I Mean Business’ voice; the ‘Shit Just Got Real’ voice. It’s a shout that doesn’t last long, and need only be deployed once. It’s kind of like Jesse Custer’s Genesis power in Preacher. One boom, one screech, and the kids’ blood freezes in their veins, and they petrify like statues.

And you can’t use it in public. Your kids know this. Well, you COULD use it in public, but you’d look like a maniac, or the sort of person who beats and body-slams children. So you do the only other thing you can: grit your teeth into a smile and issue vague threats at your children in a high-pitched, passive-aggressive tone of voice, while occasionally turning to shoot an ‘aw shucks’ shrug at watching strangers, thinking to yourself: ‘I’m going to kill these little fuckers when we get home.’

Say it again, Sam

There are many aphorisms and clichés that sum up the experience of parenting, but there’s one that towers above all the others. No, it isn’t “F*** this, I’m going to max out my credit card and book a one-way trip to Mexico”. Good guess, though. It’s: “You can say that again!”

Because you can. You can say that again. You can say that again about 40,000 times at a bare minimum. And not just some things. All things. Every thing.

Being a parent makes you feel like a robot with its dial endlessly alternating between ‘emotionally dead’ and ‘rage’, and its speech circuits stuck on repeat. Or the composer of the world’s worst, most repetitive rave song – 2 Unlimited for the next generation: ‘Put, put. Put put put put. Put put put put. Put put PUT YOUR PANTS ON!’

Don’t fear a din

When it comes to kids, the loudness of the noise they make is actually in inverse proportion to the size of the calamity that noise signifies. I’ll explain. When I’m downstairs in the living room I can sometimes hear a noise coming from my kids’ room above me that sounds like Thor and Godzilla wrestling in the heart of a neutron bomb. I’ll immediately dash upstairs in a fit of fear and fury, but when I arrive at their doorway, I’ll find that not a single thing is out of place. The room is perfect, save for a toy box that has been turned at a forty-five degree angle towards the window. Both kids are happy and unscathed. They turn to look at me like I’m Chicken Licken after licking eleven tabs of acid. A worry-wart. A nutcase.

The time to worry, I’ve learned, is when it’s deathly quiet up there. Silence means that they’re up to something. Something awful. Young kids can barely concentrate on a single toy or a task for more than a few moments at a time (unless they’re being hypnotised by our good old pal, the TV). Just about the only thing that can focus their minds is evil. Pure, unwashed evil.

So if you find yourself momentarily apart from your kids enjoying a few rare moments of peace, and you can hear nothing from the room in which they’re playing, get the fuck up there without delay. Run. Sprint. Teleport if you can. You’re about to be greeted by a rich cavalcade of danger and debauchery, the likes of which even the ferryman on the banks of the River Styx has never seen: the cat wearing lipstick; an ungodly amount of tampons glued to the ceiling; a ten-foot blue peeing willy painted onto the wall accompanied by the word BOOB in blood-red nail varnish; a duffel bag filled with unmarked fifties; a human turd sprinkled with sequins; a cow marrying a goat in an unofficial ceremony in your bedroom; a dead shark (also sprinkled with sequins); and a working prison complex made entirely out of wooden blocks and cardboard boxes housing some of the worst serial killers this country has ever seen.

Silence is your enemy.

Kids are weirdos

My kids often use me as a climbing frame, usually with little warning or provocation. I only have to bend down to pick up a plate or squat down to tie my shoelaces and there’s a two-person stampede up my spine and across my head, the pair of them swinging off my neck like monkeys.

A few weeks ago, one of my eldest’s mighty gymnastic leaps onto my torso failed, and he accidentally kicked me in the balls. As I cautioned him about the delicacy of the flesh sacks it’s our burden to bear and the care that must be taken around them, my two-year old, who was standing next to us, suddenly shouted out: ‘LIKE THIS?’ before proceeding to whip his trousers down to his ankles and shuffle around the room screaming, ‘I’m an old man, I’m an old man!’ The eldest kid responded by laughing, and slapping his own face with both hands.

Yes, kids are weirdos. And, no, I don’t need a DNA test to prove their lineage.

Food, not so glorious food: kids are fussy

Kids have the same fickle, mercurial relationship with food as Roman emperors did with gladiators. A favourite can quickly get the thumbs down for absolutely no reason at all, and you could find the fires and fury of hell thrown in your face for daring to advocate it in the first place.

Kids are insane. A child could eat potatoes, and only potatoes, every day for six weeks while wearing a T-shirt that says ‘I LOVE POTATOES’; they could sleep with potatoes instead of teddy bears; compose sonnets, odes and epic poems to the potato; they could even lobby to have their name legally changed to Kid Who Things Potatoes are the Greatest, and you still might put a plate of potatoes down in front of them at dinner time to find those potatoes come soaring at your head accompanied by the scream of: ‘POTATOES? WHAT GAVE YOU THE IDEA THAT I LIKED TO EAT SWOLLEN GROUND-TUMOURS? GET THEM OUT OF MY BLOODY SIGHT!’

I’ve witnessed my 2-year-old violently changing his mind about his own choice of breakfast cereal literally within seconds. Cheerios he said. You’re sure, I asked? Yes, he said. Positive? I asked. Yep, he said. Absolutely water-tight on the cereal front there? I asked. Uh-huh, he replied. Cool, I said. Here’s some Cheerios.

And then there was some Cheerios all over the living room table. ‘I WANT CHOCOLATE HOOPS!’

It’s madness incarnate. I’ve always found it funny that a kid can go off eating a particular kind of meat, plant, vegetable, fruit or pulse, but never seems to lose the taste for crisps or chocolate. You’d never hear them exclaiming: ‘A MILKY WAY?! JESUS CHRIST, DO I LOOK LIKE A FUCKING MILKY WAY KIND OF A KID TO YOU? WHERE DO THEY GET THESE PEOPLE?’

Sleep is not a foregone conclusion

The pattern to keep in mind when thinking about your own children’s sleeping patterns is the kind of pattern made by a spider that’s trying to make a web while off its tits on a cocktail of sulph and crack. The end result is less a web and more a Dr’s signature scribbled on the back of a spinning washing machine during an earthquake. By all means try to discern shape and meaning in that pattern, but be prepared for that sulphed-up spider to leap from one of the 957 points of its web and sink its fangs into each of your eyes.

Right. Hang on just a second. [disengages ludicrous analogy mode]

Maybe you’re one of those people whose child sleeps all the way through the night without rouse or rancour from the very first day of its life, and if you’re one of those people then I hate you and wish you an agonising death, ideally involving mentally-deranged ostriches with PTSD. My advice to you is to stop reading this amusing article immediately and proceed directly to ‘Big Malky’s Ostrich Death Arena’ just off the M8 at Cumbernauld. See how long you can bury your head in the sand before your arse is kicked off by seventeen angry flightless birds.

For the rest of you mere mortals, you need to know that lack of sleep – or a torturous and broken drip-feed of sleep – isn’t something that’s necessarily confined to the first year or so of your child’s life.

You could be a caffeine-infused wreck – more eyelid than human – for anything up to five years. It’s worse if you have two or more children. You could very well have one child who sleeps through the night, but any gain in hours spent blissfully unconscious garnered from that cherubic child could be wiped out by the other, or others. My kids are 5 and (almost) 3 now. We co-slept with both of them when they were babies, which was beautiful and magical and reassuring, but the co-sleeping, once started, never ends. Even though both boys go to sleep in their own beds in their own room, I still wake up every morning with seven-eighths of my body dangling from the edge of the bed, and a child’s foot up my nose. And our 3-year-old still wakes up at least once through the night, usually to have a good cry to himself.

We know the feeling.

If you’ve got a partner, hug them tight

None of us parent in a vacuum. We bring our own tiredness, moods, worries, hurries and anxieties to the job. Great. So do our kids.

Their little brains are still growing and changing, overloading their minds and bodies with impulses, emotions and information-flows they aren’t yet equipped to process. They feel things, but they don’t often understand why they feel them, or know how to deal with those feelings. This broth of feelings, this contest of emotions, is a recipe for mental breakdown, depending upon what ingredients are in the mix at any one moment.

That broth can bubble over at any moment. You can wake up in the morning, skip down the stairs and greet your children with a sunny smile, have that undiluted love beamed right back at you, wrap your arms around them and squeeze them tight, and bound over to the breakfast table ready to start the day with a clear head and an open heart, but within three minutes you could be balled up on the floor smashing it with your fists and wailing like a bereaved Middle Eastern mother, as fire and rubble and regret erupt all around you.

There’ll be one kid in the corner covered in milk and wallpaper paste screaming ‘NOOOOOOOO’, while the other one’s on the table sacrificing a goat while aggressively chanting ‘IMHOTEP! IMHOTEP’ over and over. ‘Why?’ you sob, as a swirling inter-dimensional portal opens up next to you and demons crawl out and start eating the house. ‘Why??….’

Ten minutes later you’ll all be under a blanket on the couch cuddling and eating crisps, watching Paw Patrol, and the demons will be complaining because they’ve seen that one eighty-five times before.

I’ve often came home from work at lunchtime to find my wife staring through a wall, with the ashen, dead-eyed countenance of a woman who’s just witnessed a multiple murder – or else is planning one.

Frayed and frazzled nerves, especially when shared and subjected to the same child-shaped stresses, make arguments more likely by a factor of ninety-one… THOUSAND MILLION. While stress-fights are difficult to avoid, I’ve learned that it’s best to try. Just hug them. That’s the best thing to do. Hug them and have them hug you back. Hold each other. Close your eyes tight and hope for the best.

If you’re raising kids alone, then hug yourself. In fact, give yourself a medal, you brave, mental bastards.

An unhealthy obsession with serial killers comes in handy

I’ve long been fascinated by serial killers and violent criminals. I’ve read scores upon scores of books about them, watched countless interviews with convicted wrong-uns on YouTube, and devoured a whack of drama series and documentaries on the subject. I was a fan of sick, murderous bastards long before Netflix made it fashionable. As a consequence I feel I’m armed with enough specialist knowledge to spot the early warning signs of having a psychopath on my hands.

When he was three, Ted Bundy surrounded a sleeping female relative with sharp knives, all pointed towards her body. It was a most unsubtle augur of the young man’s future hobbies. The worst my wife and I have woken up to is a cough in the eye, or a shat bed, so we’ve already aced the Bundy Test.

We’ve always had pets, too, and in a house with trainee serial killers, the pets are the first to go. Our current cats, then, are rather like pit canaries. Mercifully, both boys are very loving and gentle with our furry lodgers, beyond the very occasional bit of monster-roaring in their direction, so that’s another test passed. Phew. And we haven’t yet found the disembodied head of a hitch-hiker in our fridge, so that’s also reassuring.

Keeping an eye on those matches, though.

Despite all the headaches, heartaches and lack of sleep, having kids is still the best thing in the entire world

It really is. And I think that speaks for itself. My kids are absolutely bloody fantastic, and they make me smile and cry with happiness, and beam with love and pride, more times a week than I could count. It makes all the murderous rage worth it.

Scotland’s Smacking Ban: a Hit?

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‘Smacking’ sounds really nice, doesn’t it? The word, I mean. If you’re hungry for a snack, your lips might smack; if your gran comes to visit she might ask you to pucker up and give her a big old smacker on the kisser. Onomatopeiacally, a smack is rather like a crack, but much less forceful: sharper, cleaner, kinder.

It’s the sort of sound that makes you nostalgic for the good old days, when men were men, women were women, and botties were smacked. By golly we miss those halcyon, smoke-hazed days, before the cultural assassins in the Stalinist SNP tried to rob us of our right to smack: a right that is as sacred to us Scots as is the right to bear arms to the Americans, by God! And we will fight to defend that right!

I’ll tell you what we’ll do. We’ll organise a protest outside the Scottish parliament: six-thousand angry parents and their six-thousand passive, blank-faced children. We’ll march them up to the front door, whip their trousers down, bend them over our knees and show Nicola Sturgeon that we mean business by unveiling the world’s biggest, six-hour-long, six-thousand-bum synchronised arse-smacking, the sound of which will fill the air like revolutionary gun-fire! Smack, smack, smack! Read our bums, Nicola! We won’t be turning the other cheek on this one. Well… we will be, as a matter of fact, but only so we can bloody well smack it, too!

…Language is a funny old thing, isn’t it? Time and again we bend and smash and smush and twist our words as though they were putty and paste, making paper machier towers that we let ourselves believe are permanent, solid, unbreakable. We build words around us like ramparts, and take up sniper positions behind them; we try on words like we’re shopping for clothes, seeking out dazzling combinations that accentuate our wealth, power, sex appeal, or contrition – does my guilt look thinner in this sentence? – or else use them to reinvent ourselves entirely; sometimes we use words as shields to protect us from the force of the truth: the truth of who we are and what we do: enemy combatant; extraordinary rendition; my honourable friend; friendly fire; constructive dismissal; it’s not you it’s me; McDonalds’ Happy Meal.

What I’m trying to say is that ‘smacking’ isn’t really smacking, you see: it’s hitting. Why don’t you try saying that instead? ‘Smacking’ is hitting a small, defenceless child, and that’s true regardless of the strength of the hit, or whether the point of impact is a bottie, a thigh, an arm, a face or a chest.

If you’re defending what you perceive as your universal human right to smack a child, then at least be honest about it. Rip the mask from the face of that word to reveal its true identity, and lay bare your own sub-Lecter-ish lust for pain and power. Spell out your intentions both to yourself and to the world at large. Shout it from the rooftops: ‘I demand the right to hit and inflict pain on the fruits of my loin without consequence or interference, whenever I see fit and however spurious the reason.’

In terms of self-delusion there’s very little difference between ‘I don’t beat my children, for goodness sake, I just give them a light corrective smack’ and ‘I’m not an alcoholic, for goodness sake, I wait until at least lunchtime before having my first drink!’

‘Yea, yea, yeah, you ponce!’ you might cry. ‘But I got smacked, and it never did me any harm!’

Ah, that familiar cry, countered so many times by the now-equally familiar cry, ‘Yes it did, because you believe that it’s okay to hit children.’ I’ve noticed that the most ardent supporters of ‘smacking’ are usually those upon whose faces you can see the tragic consequences of a life lived through shortcuts, a life lived in a world of permanent present tense: crumbling teeth; unkempt hair; blotched and bloodshot eyes that reveal a map of impulse forever left unchecked.

Probably best to eschew parenting advice from someone who’s lazy and blinkered enough to hit first and ask questions later.

Plus, if smacking is your go-to punishment of choice, how do you punish your child for hitting somebody? By hitting them? What message does that send? Especially since they may be hitting other people precisely because you’ve taught them that hitting is permissible.

‘But how else will children learn right from wrong?’

Take violence from our toolbox, and we’re powerless! It’s true. That’s why we still beat children in schools, and our boss is legally entitled to smash us in the face with a tyre iron. That’s why when the judge is about to pronounce sentence in the courtroom he might say something like: ‘The defendant has been found guilty on all counts of his robbery charges. Now bring him here so I can kick the fuck out of him.’

I can understand the impulse to hit. Of course I can, I’m a human being, and I live in a world that contains Piers Morgan. I can even understand the impulse to hit a child. No creature on earth can inspire such anger, and scream-inducing helplessness and frustration as your own child. But I would never – and could never – do it. I don’t think I could ever look my kids in the eye again, and I’d feel like an irredeemable failure as a father.

In no other sphere of life do we condone hitting as a solution. Even savagely violent, hopelessly recidivistic killers are spared violence as a behaviour modification tool. Looking for another reason not to hit your child? Let reason itself be your reason. Behold the maxim below that’s been floating around cyberspace in meme form for quite some time now:

When our eldest son, Jack, approached the age of reason, we started using a sticker-based system that recognised, rewarded and re-inforced good behaviour, and helped us circumnavigate bad behaviour. It wasn’t a perfect system, granted, but it seemed to achieve its aims without causing major psychological damage. I remember once Jack was trying to pilfer a biscuit before bedtime; he had a hand inside the bag with a biscuit held between his fingers in a vice-like pincer grip. When I calmly advised that his current course of action would result in the immediate loss of a sticker, he couldn’t have dropped that biscuit any quicker if I’d been an armed New York cop shouting ‘Freeze, dirtbag!’

On a few occasions, thanks to the child’s method of learning and evolving through mimicry, he put on his best faux-cross-face and told me he was going to take a sticker away from ME.

Replay that scene again, mimicry and all, but this time imagine that I’d hit him.

Plus, yah boo and sucks to the ‘How do you teach young kids not to touch hot surfaces without even a gentle smack?’ Because the answer is: ‘Very easily.’ You watch them like a hawk. You make yourself responsible for not exposing them to any danger. And if you do see your kid about to touch something dangerous, a loud warning shout is an effective deterrent (provided you aren’t the sort of person who shouts all the time, thereby lessening the impact).

‘Kids will run wild if you don’t show them who’s boss.’

It’s hard to believe that we once allowed teachers to belt our children up and down the schoolyard, making our own flesh-and-blood handy scapegoats for everything wrong in a teacher’s life from sexual frustration to really bad hangovers.

But there are still those who would give a wildly disingenuous defence of smacking, both private and corporal. They’ll tell you that there’s a direct correlation between the ban on corporal punishment, and a decline of discipline, order and respect in today’s society. That somehow if we were to take the next logical step and ban smacking entirely then discipline would cease to exist. Instead of there being negative consequences for misbehaviour, kids would instead be disproportionately rewarded for their breaches: “Ah, I see you’ve thrown a television through the window of the old folks’ home, Timmy. What would you say to a lovely new Playstation 4, slugger?” (PS: If anyone should be beaten for their transgressions, it should be me for splitting an infinitive in the previous sentence)

You want to be disingenuous? I can be disingenuous too. My friends, there’s a direct link between corporal punishment and child beatings, and the advent of both world wars. Violence begets violence, you see.

The children you see or hear about running amok, showing disrespect or engaging in violent acts (which never happened in ‘your’ day, oh no, bloody utopia, so it was) are more likely to come from homes where violence, abuse and/or neglect are the norm. They’re certainly more likely to come from an environment characterised by deprivation or poverty. So the next time you feel moved to trot out the old, ‘All these kids need is a bloody smack’, remember that it’s likely a smack, or a complete absence of care or touch, that’s made them the way they are in the first place.

We can’t live in the past. We have to move forward. Learn from our mistakes. As has become abundantly clear in recent months and years, there are many among us content to hark back to the good old days, which weren’t really all that good anyway. They wish they still lived in a world where they could be thirty-thousand feet in the air in an aeroplane piloted by a shit-faced captain, knocking back whiskeys, maniacally chain-smoking, free to punch their child in the face should they have the temerity to cough, and occasionally stopping to hurl sexually-charged racial abuse at one of the stewardesses: ‘Phwoar, you’re alright for a darkie, sweetheart!’

The last strike

‘Tradition’ is a huge sticking point. A lot of people who decry the loss of smacking as a correctional tool cite the influence of their parents, grandparents, great-grandparents, a long line of smackers reaching back to the dark ages. It’s hard to advocate against something that’s so established in your family’s history. If you turn against it, then that means that you were wrong for hitting your children, or that your parents were wrong for hitting you. That’s a hard thing to admit.

Does it mean that as a smackee/smacker you were abused/an abuser? No, most probably. Or not necessarily. Although smacking is wrong, and proven to point towards serious negative outcomes, it was once the prevailing parental philosophy. Going forwards, why don’t we just say: ‘My parents hit me, I hit my kids, and I’m sorry about that, but we genuinely thought it was the right thing to do. We did it because that’s how we were taught to show love and bestow discipline. I’m not going to feel too bad or guilty about that now. It happened. It’s done. But from this point forth, no more. Just like when we used to smoke in the house with our kids, or put whisky in our babies’ bottles, we know better now. And we can do better.’

I don’t think the smacking ban has a realistic chance of being properly policed or enforced, but it might just open up the issue to public scrutiny – as it’s doing right now – and perhaps dissuade parents from adding smacking to their parental repertoire. The ban, however symbolic its application, will at least amplify the message, loud and clear, that we don’t live in that world anymore.

Jamie’s Outlander Binge – Season 4, Eps 7 – 10

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Part 17: Let’s do the time warp again

Wherein the whole gang’s back in the past, and things don’t exactly go according to plan

I’m convinced that a harrowing fate awaits the Frasers in the fourth season finale. Perhaps not the immolation fated in the archived newspapers discovered in the 1960s – that would be too obvious, and rather hard for the show to bounce back from – but something equally painful and transformative. Until then, we’ve got a veritable banquet of quests, grudges and reunions to feast upon.

In this clutch of episodes Roger finds Brianna, Brianna finds Claire, and Jamie’s fist finds Roger’s face. Many times. As the Frasers are moved around the chess-board of life by the wicked hand of fate, we discover that it isn’t God, or the devil, or Lady Luck that owns that hand, but Stephen Bonnett.

To describe the amoral, psychopathic Irishman as the Fraser family’s arch nemesis is to undersell his evil and understate his omnipresence in their lives. He’s the demonic force that shapes their feelings, their decisions, their movements, their every waking moments. His ability to wreak destruction upon the Fraser family even when he’s not even trying to or even really thinking about them makes Black Jack Randall in comparison seem about as malevolent as a little kid taking a surreptitious poo in the next door neighbour’s koi carp pond.

Bonnett is much, much worse than Black Jack. There was at least a twisted symmetry to Black Jack, some semblance of a code, a hint that some part of his soul might once have been salvageable. Bonnett very rarely bothers to put a positive spin on his actions. He knows he’s utterly bereft of noble impulses, and throws himself into murderous debauchery all the more enthusiastically for it. Black Jack occasionally fooled himself that he was righteous or justified. I don’t know. Maybe that makes Bonnett ‘better’, relatively speaking. It definitely makes his evil purer, even if it does make his character seem a little less nuanced.

In ‘Down the Rabbit Hole’, Roger and Brianna briefly become the series leads, and we get to imagine what Outlander might look like sans Jamie and Claire. The verdict? Perfectly fine for an episode, but I’m in no rush to see a spin-off series.

During their solo adventures the two young lovers find themselves trapped in a web of fate and misfortune; their respective journeys to Wilmington putting them at the mercies of their parent’s greatest and most dangerous (living) adversaries: Bonnett and Laoghaire.

Roger’s path through the stones leads directly to Bonnett and his ship, the crew of which Roger blusters his way onto to secure passage to the new world. Both men are unaware that the tendrils connecting them to each other will soon reach out and grab Brianna, too.

Poor Roger. We’ve all had bad bosses in our time, but I’d wager that very few of them ever gave us pause to think that they might chuck a baby into the ocean . ‘Don’t worry,’ Bonnett’s fixed smile seemed to say to us, ‘I wouldn’t throw a fecking BABY overboard, and frankly I’m offended at the fecking suggestion.’ He would, however, throw a little girl with smallpox overboard without a moment’s hesitation, an act of brutal pragmatism that revolts us in direct inverse proportion to how very little it surprises us.

When Roger later encounters his direct ancestors, a woman and her tiny little baby, the latter carrying a rash that might very well be mistaken for smallpox by a certain sociopathic sea-captain, Roger knows he has no choice but to play hero and help hide them. By helping them, Roger knows that Bonnett might very well kill him for his insolence and insubordination, but if Bonnett were to find and kill the baby, then Roger would cease to exist. As options go, it’s a lot like the choice between Butlins, and, well, Butlins.

Upon discovering Roger’s treachery Bonnett inexplicably becomes Two-Face from Batman, recalling how he once avoided death by the mercy of a coin-toss, and resolving to decide Roger’s fate in exactly the same way. Roger lives to tell the tale, of course, although one thing becomes instantly and abundantly clear: there’s no human resources department on Bonnett’s ship. Or if there is it’s a particularly bad one.

Things don’t go too well for Brianna, either. Within seconds of arriving in ye olde Scotland, she’s rolled down a hill and sprained her ankle, leaving her half-dead and hobbling before she’s even left Inverness. While Brianna shares her mother’s impulsivity, it isn’t tempered by her mother’s hardiness and resourcefulness. Never mind 18th century Scotland: Brianna wouldn’t even survive a night-out in Glasgow in 2019. Mind you, who would.

Brianna eventually – and literally – falls into the clutches of Laoghaire, who actually seems like quite a nice person when she isn’t repeatedly trying to kill Claire. It isn’t long before the spurned banshee learns the identity of the wandering invalid in her care, which triggers a reassuringly chilling primal response. Thought you’d gone all human on us there, lassie. Welcome back, Laoghaire, you narcissistic nut-case.

It’s clear that the intervening years haven’t expanded her repertoire of vengeful acts: decrying someone as a witch is still very much her cold dish of choice. Luckily for Brianna, Laoghaire’s daughter, Joan, isn’t an absolute fucking maniac, and helps Bri escape to Lallybroch, where her Old Uncle Ian secures her passage to the new world. Before she leaves, Bri redeems her earlier near-death prat-falling by doing something so utterly Claire-like that she almost out-Claires Claire. She rescues a young lassie called Lizzie from sexual servitude, and takes her with her to America as her paid assistant. Way to go, sister.

Far across the ocean, Claire is enjoying a rather warmer relationship with Laoghaire’s eldest daughter. Mind you, it’s not that hard to go warmer than ‘I’m going to have you burned alive as a witch’. Claire and Marsali’s mama talk is sweet, but demonstrates great delusion on Claire’s part, especially when she says: ‘Ah, your kids. You’d do anything for them. Anything.’

Em, except, you know, resist the urge to jump through a time-portal and abandon them for the rest of their adult lives.

Now that Jamie and Claire are landowners, they get to do things like swank around at big social functions and meet all of the big celebrities of the day, like George Washington, and a young Keith Richards. It isn’t all hob-nobbing and networking, though. While attending a play in Wilmington, Claire’s called upon to use her surgical skills, and Jamie has to play fifth columnist.

The two plot points weave into and around each like vines up a tree. Governor Tryon’s guest, and fellow robber of the people, Mr Edward Fanning, experiences insufferable pain from a particularly vicious hernia (HER-nia? Should be a HIM-nia, am I right, ladies???). When Claire mentions that he might require surgery, Fanning bats away the suggestion like it was a poo-footed blue-bottle, certain that Claire’s vagina disqualifies her from saying anything to him with any deeper resonance than, ‘Oooh, would you like some biscuits?’

When Jamie learns, half-way through watching the play, that his old pal Murtagh and his band of Regulators are about to be rumbled as they rob a carriage filled with tax money, on account of a government spy in their midst, he knows he needs a distraction to get the word out. This he finds in Fanning’s hernia, which he wallops with all of his might. ‘Accidentally’, of course. In steps Claire the surgeon, ready to rifle through Fanning’s guts for as long as necessary to make sure Murtagh doesn’t end up leaving this world swinging on a rope, his skin as blue as a sunbathing Scotsman.

It’s hard not to sympathise with Murtagh’s aims, and Jamie’s sympathy with them, when Governor Tryon is such a cartoonishly wicked elitist bastard, and the kind of man who says things like: ‘Those wretches don’t want their taxes to go towards my palace,’ stopping just short of adding ‘Muhahahahaha!’ after it. Murtagh’s moltenly socialists schemes, however violent in execution, can’t fail to seem noble when weighed against the extravagant and thoroughly corrupt spending plans of a cossetted, wig-wearing, arrogant buffoon like Tryon.

Eric Joyce

I’m reminded of a real-world, close-to-home example of a political figure abusing the public purse, if you’ll indulge the brief diversion. Our town once elected an MP called Eric Joyce. Eric was one of the most prolific expense fiddlers and spender-of-money-that-wasn-t-his that Westminster has ever seen. Seriously, he almost topped the expense scandal league table. He eventually appeared on BBC’s Newsnight to defend his place at the top of the list, hilariously claiming that he spent tens of thousands of pounds on framed paintings for his constituency office, because his constituents ‘wanted to see nice paintings’ when they attended his surgery. Not if they’re at your surgery to complain about their MP spending tens of thousands of pounds on paintings with tax-payers money, Eric, you glutton.

Google Eric Joyce’s name and you’ll find reports of reckless spending, lewd and lascivious behaviour, drunkenness and brawling, a cocktail of behaviours that his opponents claimed made him no longer fit to represent the people of Falkirk. Of course, if you’ve ever been to Falkirk you’ll know that he’s probably the most representative politician the town has ever had. Eric being a Falkirk MP was like making Charlie Sheen the mayor of Sodom and Gomarrah. Namely, absolutely perfect. Anyway, I digress. Eric’s boorish behaviour does, however, lead us quite neatly into talking about throwbacks to another time and place…

Let’s talk about Claire, and the attitudes poured on her by the pompous pricks of the day, whether that day is in the 20th or the 18th century. Claire continually has to prove her skills, intelligence and worth in the deeply patriarchal societies she’s cursed to flit between, with the added worry that if she ever fails she’ll probably be thrown in jail or burned as a witch or something. When an old male surgeon arrives at Wilmington and sees Claire operating on Edward Fanning, he splutters: ‘What hath hell wrought? You’ve butchered him. All he needed was tobacco smoke up the rear.’

All he needed was… em, all he needed was what? Was tobacco smoke up the rear a real thing? Is that where the phrase ‘blowing smoke up your arse’ comes from? Being a doctor in the 18th century sounds like it was quite easy, doesn’t it? Seems all you had to do was sit back in your chair nonchalantly chain-smoking cigarettes, remembering occasionally to puff one up a patient’s arse. And if anyone came in with a mental health problem or a neurological disorder, you’d simply burn them as a witch. Then off to the course for a few rounds of golf, whether it had been invented yet or not!

Imagine going to the doctors with a stiff knee and the doctor smoking a pipe through your bum-hole. What remedies did they offer for people who attended surgery with sore arses? The mind boggles. Along with various other body parts. Did a tender butt-hole call for a different treatment, or just a bigger fire? ‘Nurse, this man is about to prolapse. Fetch the wicker man and a hundred gallons of kerosene. And be quick about it, by God, his star’s already starting to collapse!’

Anyway, this episode handled the tension, sense of mounting dread, rising stakes and intersecting plot lines very well. Mercifully, Fanning’s operation was a success, and Murtagh was able to escape the trap that had been set for him by Tryon, all of which allowed Claire and Jamie to retain their place unscathed at the top of the high-society power-couple league table.

Some time not long after after maw and paw’s close shaves at the theatre, Brianna reaches ye olde America. So does her dutiful, but also rather dastardly, beau, Roger, who surprises her with a make-shift marriage ceremony and the altogether less welcome revelation that he’d known about the prophecy of her parents’ deaths all along and deliberately chosen not to tell her. No sooner are they (sort-of) married with a bit of hand-fasting than the whole thing looks set to collapse quicker than a Mackenzie clansman at an all-you-can-drink whisky festival.

I’m sure I’m not alone in seeing the seeds of serial abuse in Roger. He’s an emotional rapist, a passive-aggressive man-child who uses guilt to get what he wants, reacting to any slight – perceived or real – with the whiny, self-regard of a spoiled toddler. I don’t know if this is because he’s a typical man of the 1960s, or if he’s just an asshole for the ages. In any case, you can’t argue with his love and affection for Brianna. It’s not every man who’ll literally jump through time, risking life and limb, to track down his lover. Mind you, it’s also not every man who’ll conceal the truth of said lover’s parents’ fiery death so he can get his leg over. Swings and roundabouts, I suppose.

Roger and Brianna’s subsequent fight feels rather stagey and hollow, hitting a note of theatrical melodrama where a more naturalistic tone would’ve better served the mood and the material. It’s perhaps not the fight we wanted, but it’s the fight that we needed, setting the narrative on a collision course with a most unpalatable, status quo-shattering event that will leave ripples in the timeline for seasons to come.

(sigh) Yep. Another rape.

This time it’s poor Brianna’s turn to bear the horror, running fresh from her fight with Roger straight into the lair of that dastardly fiend Steven Bonnett.

At this stage I think the only member of Jamie’s immediate and extended family who hasn’t been seriously sexually assaulted is his brother-in-law, Ian, and with that limp of his he’d best start taking some precautions.

Brianna’s rape is particularly ugly and vicious, and that’s saying a lot in a series that specialises in vicious and ugly rapes. Bonnett’s brutality and callousness is magnified by the insouciance of his equally callous henchmen, who sit around laughing and playing cards as Brianna screams and cries for help in the room next door.

I can’t see Bonnet making it out of this season’s finale alive once Jamie finds out about his attack on his daughter. I imagine Jamie will hang, draw and quarter Bonnett, sending each of his chopped, stretched and lacerated body parts through the stones to a different time zone. One to the age of the dinosaurs, one to the Mongol hordes, one to the battle of Ypres, and one, finally, and most devastatingly of all, to present-day Greenock.

Roger eventually makes it to Fraser’s Ridge – or near it, in any case – but unfortunately for him the first person to spot him is Lizzie, who saw him quarreling with Brianna before the attack, and in the intervening weeks arrived at the conclusion that Roger was the assailant. She reports the sighting and its significance to Jamie, who intercepts Roger on the fringes of his land, denying him the chance to communicate by repeatedly smashing him in the face until Roger’s eye-lids are like two boiled eggs sprouting from his brow, and his face is slick with blood. I genuinely thought Jamie had killed him.

Now THAT’S an awkward first-meeting with your father-in-law. Greg Focker might’ve regretted his evening of smashed urns and milking cats over at Robert de Niro’s house, but it’s certainly better than being beaten to death before you can so much as say ‘I’ve got nipples too, Greg. Could you milk me?’

Jamie and Bri’s first encounter is a little sweeter and more sanguine than the attempted murder that befalls Roger. In-keeping with Outlander’s signature style of marrying the sacred with the profane, Bri meets her father for the first time as he’s standing in an alleyway taking a piss. The scene quickly segues from slap-stick into real, intense emotion, the musical score and the performances combining to make this Jamie – the one who’s writing this rundown – leak almost as much as screen-Jamie did in that alley-way. But, you know, from my eyes. I realise I’ve made it sound like I’m saying the scene made me wet myself.

I didn’t wet myself! [OK, Jamie, don’t protest too much, son]

Outlander is good at the special moments; the big pay-offs: Jamie reuniting with Murtagh, Brianna meeting her father for the first time. It’s not always so good at following through. The longer Brianna spent in her father’s company, the more they seemed to settle into a ping-pong of hoary and expository dialogue. You could feel nothing of the weight of their shared but separate history.

For the reasons of rape and Roger already outlined, the happy family reunion doesn’t stay happy for long, and a very contrite Jamie has to help retrieve the hapless, half-dead Roger from the native Americans who bought him as a slave. Except Roger doesn’t need their help. He found his own way to escape their clutches. He may also have found another, less-traceable route of escape: another set of stones.

Should he stay or should he go now?

You probably already know what decision he makes. I’ve yet to find out.

Three episodes to go and then I’m in-step with transmission. Soon there’ll be no more bingeing for this late convert to the show.

A few final, disjointed thoughts

  • Wee Ian looked a little crestfallen when Brianna was introduced as his cousin, the wee perv. Don’t worry, Ian, just head south and take her with you.
  • Claire’s go-to face seems to involve her eyes shifting back and forth in her head like a haunted painting, or a ventriloquist’s bear.

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READ THE REST – Click below

Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

Jamie’s Outlander Binge – Season 3, Eps 8 – 10

Jamie’s Outlander Binge – Season 3, Eps 11 – 13

Jamie’s Outlander Binge – Season 4, Eps 1 – 3

Jamie’s Outlander Binge – Season 4, Eps 4 – 6

30 Things You Didn’t Know About Scotland

Scottish Panic in the Spanish Mountains

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We went on our first family holiday abroad this past June: me; my new wife, Chelsea; and our two kids, Jack, 4, and Christopher, 2, staying with my sister in her rented house in the Alicante region of Spain. We were having a great time. It was hot, it was sunny, there was lots to see and do.

Beaches are nice. So are bright and sun-kist touristy areas teeming with hustle, bustle and hockery, but I was hungry to devour the ‘real’ Spain. A Spain with Spaniards in it: Spaniards who would find us as objectionable as they did incomprehensible.

The ‘real Spain’. I wasn’t even sure what I meant by that. Maybe I’m a pretentious sod; maybe I’ve let too many stereotypes seep into my consciousness; maybe the real Spain is whatever it looks like at any given moment and the idea that there is a ‘real’ Spain to find is the real illusion here. Maybe. Maybe that’s all true.

I just knew that I didn’t want us to have traveled across the ocean in an airborne death-cone just to join migratory hordes of English and Dutch people. I wanted us to see the things that happen in Spain when no-one is watching, or at least when no-one with blotchy red skin or a bum-bag was watching. Life under the rock. Life unfiltered and unfettered. That’s a tough call in Costa Blanca. Some towns and principalities within the region contain 60 to 80 per cent foreigners. More full English breakfasts per square mile than paellas.

“I could take you to the mountains,” said my sister. “I’ve never been there.”

“Then let’s go to the mountains,” we said.

I hasten to qualify that we would be visiting the area around the base of the mountains, not scaling the mountains themselves. I’m a man who often resents having to trudge upstairs for a piss half-way through an episode of Stranger Things, so I’m unlikely to be enthused by the prospect of scaling vast monoliths of rock in 34 degree heat.

Jack was up for it, though.

“We’ll climb that,” I said with an air of mischeviousness as we got closer.

“Yeah!” he shouted, seconds away from somersaulting out of the moving car.

“Jack, I’m only joking. We’re not really going up the mountain.”

“I want to.”

“Well, we’re not.”

“Can we though?”

“We can’t.”

He kept staring up at the inky giant, tracing its outline with his eyes as it silently towered over the little town below. “But I want to.”

“Maybe another time,” I said, every parent’s favourite fob-off. Yeah, as if. We’ll come back next week with some pick axes and a team of fucking Sherpas. Whatever. It seemed to placate him.

We arrived in some dusty little barrio and parked on a patch of gravel in a deserted street. There were pick-up trucks and sand-coloured, one-storey buildings, all baking in the oppressive heat. I wondered for a second if we’d driven through a time-and-space portal into 1950s Arizona or New Mexico. It’s the closest I’ve ever felt to being inside my favourite computer game from when I was a kid, the Commodore Amiga classic ‘It Came From the Desert’ [it was a sci-fi open-world/shooty mystery game about giant, mutant ants over-running a dusty US frontier town, itself based on the black-and-white B-movie ‘Them’]. I half-expected to see a stubble-chinned, grinning exemplar of transatlantic Desperate Dan-ness standing in the street in a wide-brimmed hat, shaking his head and muttering about ‘those damn hippies’ and ‘killer ants, sheesh’.

I love the post-apocalyptic feel of a mid-summer siesta. Most of the streets we walked down were empty, save for the invisible tumble-weeds and sheets of newspaper I imagined blowing down them. The wind was imaginary, too. There wasn’t even a breeze. The heat hung in the air like a slab. It felt like we ruled the place, a bunch of wild west gunslingers moseying into town at high noon.

We found a play-park in a central square, overlooked by flats that lined its perimeter like fortress walls. Far above them sat the silent, hulking mountain. It’s rare to find an abandoned play-park during daylight hours back home. We quickly found out why this one was free for the taking. Almost every metal and plastic surface was hot enough to cook the glazed hind legs of a giant ant (delicious with parsley and garlic butter, so I’m told). Our kids’ screams kept us apprised of the developing situation.

The town’s eerie, holocaustic vibe didn’t keep us in thrall for long, despite its unusual cavalcade of street graffiti, which included a Pulp Fiction-era Samuel L Jackson and a giant, spray-painted cock-and-balls [presumably the work of Alicante’s very own Wanksy].

We returned to the car and sped off in search of further adventures, arriving in the historic town of Orihuela a short while later. Google told us it had a castle and an historic seminary. We crept around town looking for a parking space. Eventually, we found a side street that presumably contained a time portal back to the late 19th century, because the long street running perpendicular to it was all cobbles and steps and dusty facades and shutters and old swarthy moustachioed men sipping coffee from tiny cups at tiny tables perched outside their front steps. Only the line of cars up both sides of the street belied the date on the calendar.

It was still siesta time, so there was barely a soul in sight. We parked the car outside a dinky police station – more of a police bakery, size-wise – figuring that there were few safer places to leave a car. That proved to be something of a miscalculation. But we’ll get to that.

It was approaching thirty-five degrees and the humidity was high so each step was a trudge. The shade was our friend. We hid in the hulking shadows of tall buildings. Close to where we’d parked was a path that winded up the mountain to the Castillo de Orihuela, the ruins of a Moorish castle that lent spectacular views across the town itself. The castle was the reason we’d come to Orihuela, but we didn’t want it to be the reason we died of heat exhaustion half way up a mountain. We decided to sight-see around town for a while until it got a bit cooler, or at least until it wasn’t so hot that mosquitoes were considering us medium-rare. There was always the seminary in the meantime, the Colegio Diocesano Santo Domingo.

Orihuela is like the first four episodes of The Wire: this is what I look like, it says, this is how I talk, this is how I am, this is what I’m about, and if you don’t understand it, or you don’t like it, more fool you, you philistine. Don’t let the Colegio hit you on the way out. Orihuela makes few concessions to tourists. While we walked its streets the town was largely indifferent to us, and the part that wasn’t fucking hated us. I loved it.

We couldn’t find the Colegio Diocesano Santo Domingo, despite a long search. I was sure we’d passed it only moments before finding our parking space, but no-one believed me. After winding a circuitous route around the town we were parched and tender-toed. We eventually found a cafe with tables outside where we could stave off thirst and exhaustion a little while longer.

An old lady sat at the table next to us, and despite her not speaking English, and me speaking very little Spanish, I tried to ask her where the nearest barber-shop was. We struck up a conversation, and I can assure you that I’m using the word ‘conversation’ in its loosest possible sense. I thought it polite to tell her a little bit about us, our names, where we were from. It wasn’t the first time that holiday I’d tried to tell a bona fide, non-English-speaking Spaniard that I was Scottish, but it was the last.

To my incredulity, the word ‘Scotland’ didn’t register with her. At all. Her old eyes narrowed with irritation as I continued to labour the point. I refused to give up, and started to mime the bagpipes. Still nothing.

Up in Catalonia my country’s struggle for independence is synonymous with their’s (although thankfully Scotland’s route hasn’t been so fraught with police action and political violence), so the land of William Wallace and battered haggis suppers is very much alive in their thoughts and imaginations. But in the Alicante region? In Orihuela? Wow. Nunca has visto Braveheart, anciana?

Maybe I’m just not very good at charades, which I concede might be the case. This was my technique for miming the bagpipes: I held my left fist up to my mouth, adopted the ‘I’m a little teapot’ pose with my right arm and waggled it about at my waist, all the while puffing my cheeks out and making an intense blaring sound. It’s possible that the old lady interpreted this mime as either a chicken having a mental breakdown or some sort of sinister sexual request.

“It’s not your mimes,” said my sister. “They don’t know. They don’t care.”

‘What?’ I thought, with a not insignificant amount of disdain. ‘Not know SCOTLAND? But we’re the darlings and heroes of the world. There are probably kids running through the Brazilian rainforests and beach-combing on Vanuatu right now wearing ‘CU Jimmy’ hats. When people trace their ancestry, they’d give anything to find a wee Scottish laird in there somewhere. How DARE these old Spanish ladies not know what Scotland is!’

“They only know England,” continued my sister, who I feel it’s appropriate to point out was born in Essex.

Our thirst proved to be a great sat-nav. The cafe looked on to the Colegio. It was an interesting place, our visit to which was only mildly marred by my two lunatic children, who were determined to fight their way through this historic relic, even though there was nothing and no-one to fight. Well, except each other.

As we left the Colegio and walked to the top of the street, we realised that we’d been parked a side-street away from it all along. We’d set off in the wrong direction from the very first moment. Well, I say ‘we’. Visionary that I am, and as hinted a few paragraphs ago, I’d known this all along. I’d lobbied hard to steer the group left, but the women, who always thought they were right, urged me right. They were wrong. I knew I was right, I KNEW it, but I’d buckled under the weight of my wife’s heat-bolstered bolshiness and sunkist rage. I was too hot to argue, so I slinked and shuffled behind her muttering unkind remarks, like I was one of the kids and I’d just been told to go tidy my room.

I was right, though. I was right. They should’ve been ringing the bells. The mayor of Orihuela should’ve ordered the streets shut to traffic and thrown a carnival in my honour. Cruelly, I was denied my moment in the sun, couldn’t bask and dance a jig in the fierce light of the truth, because a troubling scenario had presented itself: the unexpected absence of cars in the street in which we’d parked.

All cars.

All gone.

My sister’s car, too.

Stolen.

As I stormed up and down the nearly deserted Spanish street I temporarily allied myself with Donald Trump by shouting, ‘I see you can’t even park your car outside of a fucking police station without it getting nicked in this shit-hole of a country!’ I was waving my hands around like an orchestra conductor wired directly to the electricity grid. A dark-skinned boy in basketball garb bounced past me with a confused smile on his face, obviously wondering why the big pink-and-red flabby guy was trying to summon a heart-attack.

I thought it must be street urchins. Shoeless motherfuckers from ye olde tenements at the top end of the street. An old man was sitting outside his glorified cubicle of a house, sipping tea at a small table with a chequered table-cloth draped over it. He raised himself up, balancing his body atop his bandy old legs and tip-toed through a curtain into his house. That earned him a place in the vast tapestry of my car-thieving conspiracy. What was he, the lookout? HOW MUCH WERE THOSE URCHINS PAYING HIM?!

This wasn’t the one we found, but it’s the same idea

I scoured the empty space where the car used to be. Did I expect the car to mysteriously reappear once I’d looked for it in the same place forty times? Miraculously, though, on approximately the forty-eighth time of looking, I found something. A flat, triangular sign stuck to the ground near the spot. I’m not very good at reading Spanish, but you don’t have to be Miguel de Cervantes to recognise a picture of a tow-truck. I showed it to my sister, and watched as her panic turned to relief then to anger, then to dread, then back to panic again. We crowded round the triangle like it was some mysterious artefact, trying to unlock its secrets with our eyes. The kids thought this was a fun game, ‘Hide That Car’ or something, and were rioting up and down the street, stopping now and then to ask unwelcome questions like, ‘Where did the car go, Aunty Ali?’ ‘Will we ever get the car back again, Aunty Ali?’ ‘Does this mean we can’t go to the castle, Aunty Ali?’

I could tell that Aunty Ali, who normally found the children unremittingly cute no matter what they did, was ready to fucking throttle them. I herded them up, and took them along the street with me to a little art gallery we’d passed where I hoped very much the gallery owner spoke English.

She didn’t. If it was hard to mime ‘Scottish’ think how much harder it was to mime ‘my sister’s car has been towed from the street and they’ve left a little triangle on the pavement and do you know how far away the impound place is?’ Very hard. In fact I gave up. I offered a meek, polite but defeated smile, and backed out of the gallery, taking my two Tasmanian devils with me.

It wasn’t until days later we realised that 10 seconds from where the car was towed was the house of Miguel Hernandez, a famous Spanish poet

My sister was on the phone to the people from the triangle, slumped against the wall of a side-street as if she’d been shot, frantically trying – and largely failing – to understand and be understood by the policia. The kids bundled into their mother’s legs, then resumed spinning around the street in circles of screams. I silently surveyed the street. It was clear to me what had happened.

We’d arrived during siesta, where the normal rules of street parking didn’t apply. Presumably, everyone had returned in the dying minutes of siesta to move their cars, leaving ours sticking out like a Scottish person on an Iberian beach. We’d learned that parking outside a police station isn’t really that smart when you’re flagrantly violating local bye-laws.

The woman from the gallery appeared at the foot of the alley-way waving a map. She’d thought I was a lost and curious tourist asking for directions to museums and the like, and had decided to follow me and conclude our non-conversation on a positive note. I took the triangle from my sister’s hand and held it aloft for the gallery lady to see. The centimo dropped. She agreed to speak to the policia over the phone. After the call she was able to indicate on the map where we should haul our sorry, heavily-fined asses. Thankfully, the police car impound was a mere twenty minute walk across town, and easy to reach.

Although we were all relieved that the car hadn’t been re-appropriated by a pack of thieving Spanish peasants from my quasi-racist imaginings, my sister remained understandably upset. I felt bad for her, and consoled her as best I could, but now that we were out of immediate peril I was free to enjoy the adventure as it unfolded.

We were walking through parts of the town that tourists would never think, or want, to tread: the grimy parts, the neglected parts, the soulless and empty parts. We walked over raised walkways, behind graffitied walls, past car lots and junk piles, heading towards a taste of ordinary – albeit remarkably stressful – Spanish life in an every-day municipal building. This was an adventure. I was in heaven. ‘This’ll be fun to write about,’ I thought to myself. And do you know what? Summer me was right. It has been fun to write about.

A police station isn’t a cheery place. If you’re in there, you’re either a perpetrator of a crime, or a victim of one. Bright paint-jobs and murals of suns and butterflies aren’t really the order of the day. This particular police station was as muted and anti-septic as you would expect from any police station anywhere in the developed world. Luckily our kids were there, to break the sombre silence with their happy wee faces and delighted shrieks. Within moments, the policeman on the desk was sharing cheeky faces with them from behind the glass. My sister was very upset as we filled out the paperwork to get the car back. I half-hoped her very genuine display of emotion would inspire a movie-esque change of heart in the policeman, and he’d tear it all up and chuck us the keys, but the police don’t really work like that.

A few minutes later we were all in the freshly liberated car. My sister’s hands were still shaking, but we had overcome adversity and come out on top. We were safe. We had a story to tell.

OK, we’d never managed to reach the castle ruins or see much else of the towns around the mountains. But I felt we’d seen Spain. Really seen it.

For better or worse, it had been ‘real’.

Here’s that graffiti I mentioned earlier.