Article
Christmas culture
4 min read

Why a cultural Christmas sometimes struggles to celebrate

In the build-up to Christmas there's contrasting rhythms of ancient and modern ways to celebrate.

Alistair Reid is studying theology at Oxford University as part of training for Church of England ministry.

Looking down a red shiny christmas tree in the centre of a department store gallery.
Christmas at Galeries Lafayette department store, Paris.
Bing Hao on Unsplash.

Our lives dance to the rhythm of anticipation and fulfilment. The food in our fridge, the concert in our calendar, the holiday on the horizon. From daily pleasures to longer-term goals, we inhabit the familiar routine of journeying and arriving.  

The build-up to Christmas offers such a rhythm on a much wider scale, moving beyond the personal to a culture-wide experience. We receive our early warning alert in September as the mince pies hit the supermarkets. But by November preparations are in full swing. Retailer John Lewis has coined ‘the 45 days of Christmas.’ Their biggest day of sales for Christmas decorations is on November 10th. By December, the Christmas ads, Christmas lights and Christmas music become relentless. We make plans, buy presents, prepare food in a bid to deliver the promised Christmas cheer. And, finally, the big day comes – with turkey and trimmings. The length, breadth and depth of anticipation channeled into a single day.  

And then it’s Boxing Day. 

Boxing Day can have its own pleasures, but there’s also a sense of nostalgia, and even sadness. The wrapping paper left scrumpled on the floor from the night before, the leftovers in the fridge, the home emptied of guests, whether welcome or not. At best, we have the sad realization that the next Christmas is as far away as it could possibly be. But more likely, the realization that it wasn’t quite as good as we’d hoped, anyway. As Sylvia Plath memorably wrote in The Bell Jar:  

 “I felt overstuffed and dull and disappointed, the way I always do the day after Christmas, as if whatever it was the pine boughs and the candles and the silver and gilt-ribboned presents and the birch-log fires and the Christmas turkey and the carols at the piano promised never came to pass.” 

And so the cycle goes on. At least there’s New Year’s Eve to look forward to. Or Easter, as the supermarkets swap mince pies for hot cross buns. 

Our cultural Christmas struggles to wait. The joys of Christmas extend ever earlier, with searches for Christmas trees surging from immediately after the summer holidays. 

Our modern Christmas rhythm is, in many ways, parasitic upon an ancient Christian one. In Christian tradition, the four weeks building up to Christmas is known as Advent. The word means ‘coming,’ for Advent is a period of expectant waiting both for the birth of Christ at Christmas, and also the hope that Jesus will return to put all things right. As such, it is a time of preparation, self-examination and fasting, as Christians ready themselves to stand before the judgement seat of God. Advent is followed by Christmas, celebrated for twelve whole days (as in the famous carol), which is why Christmas decorations went up on Christmas Eve, and came down on January 6th, twelfth night. 

In many ways, the ancient pattern is similar to the modern pattern. Both are liturgical rhythms that mark and measure our years, as we inhabit cultural, familial and personal routines. Both involve anticipation and fulfilment, build-up and joy.  

And yet the differences are also stark. Our cultural Christmas struggles to wait. The joys of Christmas extend ever earlier, with searches for Christmas trees surging from immediately after the summer holidays. But, more surprisingly, our cultural Christmas struggles to celebrate. That might seem strange given the quantity of food, wrapping paper and presents that we get through. But rather than twelve days of Christmas, we barely make it through one.  

By contrast, the Christian tradition emphasizes the discipline of waiting. But not as an ascetic end in itself, as if joy is bad. Rather, the denial of waiting is replaced by the sustained joy of celebration. Twelve days of Christmas celebration is almost impossible for us to imagine – wouldn’t we get bored? Given our longing for joy, it’s somewhat surprising just how hard it is to sustain.  

More deeply, these two contrasting Christmases place their weight in very different places. Our modern Christmas expects Christmas to deliver what we’re looking for: through friends, family, food and fun. But while we catch glimpses of joy, we’re often disappointed: the turkey is overcooked, the presents are not what we wanted, the kids are bickering. It’s no wonder that sometimes Christmas can struggle to bear the weight put upon it. It’s no wonder that Christmas Day can descend into disappointment, self-pity, even acrimony. 

But the ancient Advent-Christmas rhythm, while incorporating these joys, deliberately seeks to place them within a larger story. The baby born at Christmas brings salvation from sin and death, turning Advent meditation on our future judgement from fearful cowering into confident expectation and present joy. This is hope and joy that does not depend on the perfect lunch, or the most sparkling of conversation. Instead, the greatest gift of Christmas is, well, Christ. And he can generate twelve days of celebration. In fact, he can generate joy for eternity. Rightly, C.S. Lewis described joy as ‘the serious business of heaven.’  

This is not to condemn our cultural Christmas. Who wouldn’t enjoy a cheeky mince pie in October? But what if it isn’t capable of delivering what we all want? Perhaps our capacity for joy is larger – and rooted deeper – than we thought. In this world of disappointment, sadness and suffering, perhaps the route to such sustained joy is through rhythming our lives to a larger story. 

 

Article
Christmas culture
Culture
4 min read

TV’s search for the perfect Christmas special

Sitcoms rely on expectation and conventions. Here's the one rule that gets broken at Christmas time.

James Cary is a writer of situation comedy for BBC TV (Miranda, Bluestone 42) and Radio (Think the Unthinkable, Hut 33).

Dressed in camouflage uniforms and makeshift costumes, soldiers create a nativity scene
Bluestone 42 Christmas Special, 2013.

There are rules to sitcoms. I should know. I’ve been writing sitcom scripts for over twenty years. This includes two Christmas specials (Miranda and Bluestone 42). When you start writing a Christmas episode of a sitcom, you look back to Christmas specials you saw as a child. Soon, you are aware that there are certain expectations for a Christmas special. You also realise you can break one of the rules of sitcom. 

Before I explain what that is, let me give you the basic rules of a TV sitcom. Essentially you need three things: Characters; conflict; and a confined space. Each episode has a beginning and a middle and end, but the characters must end up back where they started. 

The characters in a sitcom are in conflict. They have contrasting viewpoints, seeing the world very differently. And they are confined, unable to walk away from each other because they are family (Think Del and Rodney in Only Fools and Horses), or they have to work together (Think Sir Humphrey and Hacker in Yes, Prime Minister) or they all live in the same suffocatingly small village (Think Geraldine and Alice in The Vicar of Dibley). 

Each week, the characters have quests. They conflict. The story plays out in the same reliably predictable but surprising way. Del Boy has another get-rich-quick scheme; Sir Humphrey tries to stop Hacker from changing anything; and the Vicar of Dibley keeps trying to help Alice and the idiots who surround her. That can’t change, even in a Christmas special. 

It’s not for a twenty-first century sitcom writer to say that the Greeks didn’t know anything about theatre, but wow. Modern audiences would not stand for this totally unjustified divine intervention.

At Christmas, however, you can have your characters go on a journey. That’s quite a popular option. But the journey has to be arduous – like the journey to Bethlehem – and might involve a pregnant woman (think The Royle Family) – like the journey to Bethlehem. But your characters could go on a road trip in any episode. That’s not the rule you have to break. 

Your Christmas special might be centred around your character’s own version of what constitutes ‘the perfect Christmas’. These expectations must be met, but the lesson is normally that it’s all about who you’re with, not what you do. In the Bluestone 42 Christmas special, the bomb disposal team in Afghanistan are away from home so trying to have a ‘normal’ Christmas with turkey and a nativity play in which yonder star turns out to be a mortar attack by the Taliban. But they’re in it together. 

Family is always important in a sitcom, but doubly so in a Christmas episode. In Miranda Series 2, our comedy heroine wants to do Christmas her own way with her friends, and not spend the day with her embarrassing and eccentric parents. But she learns a common Christmas lesson that family comes first, home is best, and no-one does Christmas better than your own family. Again, this is not a deviation from the normal rules. 

So, what rule does the Christmas episode break? It is cast iron law across all genres of television. It’s the Deus Ex Machina. That’s not normally allowed. Deus Ex Machina literally means ‘God from the machinery’. It’s a Latin term for what happens in Greek theatre. Actors representing gods would be suspended above the stage and at the denouement of the play, they would come down and intervene, so that everything is sorted out. 

It’s not for a twenty-first century sitcom writer to say that the Greeks didn’t know anything about theatre, but wow. Modern audiences would not stand for this totally unjustified divine intervention. If a character was about to be exposed by the annual Church fete and at the last minute, a thunderstorm out of nowhere rained off the whole event, you would start throwing things at the TV. If a character declared undying love to another and it was not reciprocated, the sudden discovery of a foolproof love potion in the third act would have the producer, director, the cast and even the make-up lady asking for rewrites. 

But at Christmas, God comes down from on high. So, in your seasonal sitcom special, you’re allowed a miracle. In fact, the audience are almost demanding a ‘Christmas miracle’. This is the time of year when magic happens. 

This miracle normally happens overnight because that’s when miracles happen. The Wise Men followed the star to the witness the child born of a virgin. Given stars were involved, we presume it was night time (although the text doesn’t say so). Marley and three Christmas ghosts visit Ebeneezer Scrooge at night. He is miraculously transformed by the experience. 

Christmas is a time when lots of people going to church who normally would not, but the vast majority of people in the UK do not go to church or worship God at Christmas. But the incarnation, that is story of God made flesh in Christ, keeps poking through and turning up whether we like it or not. If we won’t go to church to hear that story, God will send it through waves and wires and onto our screens in TV specials so that we all remember that Christmas isn’t just a time for family and traditions; it is a time of miracles. At Christmas, we allow ourselves the luxury of belief.