Mainlining Christmas

It shouldn't be entirely surprising that Phineas and Ferb is a treasure trove for the "Christmas in July" trope: with more or less the entire series set during summer, they've found numerous excuses to play with holiday and winter tropes over the years. A few of the episodes I'm looking at are admittedly a stretch - there's a reason we've only done one of the episodes below to date - but together they offer a surprisingly comprehensive look at the range of different approaches to the "Christmas in July" premise. S'Winter (2008) S'Winter is one of the earliest episodes of Phineas and Ferb produced. It's typically combined with "The Magnificent Few" to fill a half hour. But "The Magnificent Few" has jack to do with the holidays, so we'll just shove that aside. I've been wrestling with this episode for several years. There's a argument it could count as a Christmas episode, but it falls just short

This is adorable. It's adorable and charming and whimsical and sweet. It's fun and it's funny, it's safe for all ages without being insipid. In short, it's quality children's programming. I've seen a few episodes of the show this special is spinning out of, because I watch kids' shows on PBS. If my vague recollections are accurate, this is equivalent to an especially good episode. The special opens with some friendly narration explaining how excited George is about Christmas. Soon he wakes up and runs into the other room to jump on the Man with the Yellow Hat, only to be told that like yesterday, and the day before that, and the day before that, it is not yet Christmas. The Man (it's so awkward to call him that, but take it up with H.A. Rey) gives George a chart to track the rest of the days (12) until the big day, and reassures him that they have a lot to do to get ready, so the time will pass quickly. Cue the first musical number! It'

We shifted this to the top of our Netflix queue after seeing it on a list of relatively well-known Christmas movies (Lindsay and I are geeks and therefore completists: the notion there are any famous holiday films we haven't gotten to continues to torment us). We knew the premise, which centers around a group of kids stuck at an airport on Christmas Eve during a blizzard, and felt like we had a pretty good idea what to expect. Fortunately, we hadn't realized this, unlike damn near every other holiday kids movie, was directed by someone competent. It turns out that the reason all those other movies suck isn't the premise; it's that they're written and/or directed by hacks. This one, improbably enough, was made by Paul Feig. Oddly enough, this is the first of his movies I've seen, despite hearing good things more or less across the board. Before I get into the film, I want to say a few things about the short story it's based on, a non-fiction piece that

I read and watch a lot of things. Most of us do, today. Which is why it's so special to find something I've never seen that is this magnificent. I had a general awareness of Meet Me in St. Louis . I know the Trolley Song. I know the history of Have Yourself a Merry Little Christmas (more on that later). But I'd never sat down and actually watched the movie. Now I want a copy to put into permanent rotation. This isn't just me speaking as a lifelong fan of movie musicals; Erin loved this film as well. For one thing, it's beautiful. The Technicolor is sumptuous, the use of light and shadow evocative and delicate. The sets and costumes are extremely detailed (it is a period piece, after all). The writing and performance is wonderful. The script is clever and quick and the comedy hasn't diminished with time one smidgen. The plot is simple and charming. It's based loosely on a series of short reminiscences about living in St. Louis in early 1900's, and follow

I wasn't watching much TV during the years Everybody Hates Chris aired, and I certainly wasn't tuning in for sitcoms. I hadn't seen a single episode of the show until we sat down to watch these four, and I had no idea what to expect. The title didn't fill me with confidence - it's odd for a TV show to so blatantly parody another currently airing. Without watching more episodes of this and Everybody Loves Raymond, I can't say for certain why Chris Rock chose to take such an obvious swipe at the competition up front. Raymond was a popular show, so Rock may have simply been after publicity. Alternatively, he may have liked the joke or objected to Raymond's somewhat idealistic portrayal of life in the five boroughs. Whatever the reason, I think the name's unfortunate, since it connects Everybody Hates Chris to a far inferior show. This bizarre, quirky show deserves a legacy of its own. Or, at the very least, one tethered to Malcolm in the Middle, a con

This surprisingly intelligent British fantasy opens a few days before Christmas. Steve is being released from prison after serving two years: he was a getaway driver in a botched robbery. All he wants is to spend some time with his son, Tom, who's terrified his father will disappoint him. After a brief argument with his mother, Tom writes a letter to Santa and places it in the fireplace (a British tradition which frankly makes a hell of a lot more sense than dropping it in a mail box). As soon as the room's empty, a gust of wind carries it up the chimney then promptly takes it to the shed behind his house. Because that's where Santa Claus is hiding out. After a test flight gone bad, he was knocked off his sleigh. His deer are lost, and he needs help. Before long, Tom finds him and gets the whole story. Santa specifically wants Steve's assistance - he remembers him from when he was a child and believes he'll be able to make things right. Tom calls his father and

What an unexpectedly bizarre and brilliant movie. We found this on some list of holiday movies or another and added it to our Netflix queue. By the time it reached us, we couldn't remember whether we'd added it because it was supposed to be good or bad - just that it showed up and was 55 years old. It actually feels a little older thanks to a decision to shoot in black and white, something of an anachronism at the time. We popped it in the DVD player, having no idea what we were about to see. And, for more than half of the movie, we still didn't know. It was interesting from the start, though its tone was so unusual and its subject matter so precarious, we weren't sure whether to expect the best or the worst. Tonally, it walked a line between comedy and drama - I honestly wasn't sure whether it was heading towards a happy ending or a tragedy. The premise, put simply, is that C.C. Baxter, a single office worker, loans out his apartment to his married superior

Before I start, I want to take a moment and discuss what I find utterly incomprehensible - it is likely not what you think it is. For example, as strange as it is that Sanrio, the Japanese company best known for Hello Kitty, produced a 1979 stop-motion fantasy movie re-imagining the Nutcracker as a dark fantasy in the vein of Oz and Wonderland, it's not incomprehensible. What my rational mind cannot accept is the idea that this was made, shown in America with an audio track starring Christopher Lee as Drosselmeyer, and then was inexplicably forgotten. Why isn't this at least as well knows as Rudolph's Shiny New Year? It's ten times as batshit crazy. The plot stays relatively close to the original story; closer, in some respects, than Tchaikovsky. That said, there are some major deviations. For example, neither E.T.A. Hoffmann's Nutcracker or Tchaikovsky's involved time-travel. However, it's worth noting the addition actually cleans up the narrative

Watching Christmas episodes in context is a very different experience than tuning in for just a seasonal outing. Unlike most of what we review on this blog, The Flash is a show I watch religiously - it's a fantastic program that delivers classic superhero adventures on the small screen. If you're a comics fan and you're not watching, you owe it to yourself to get caught up. This is one of the best. I talked about the first Flash Christmas episode last year. Like that one, this primarily exists because the show unfolds in real time, and Central City - like everywhere else - celebrates the holidays. That doesn't mean they didn't go all-out for Christmas, though: even for a series where a psychic gorilla has a recurring role, this one just pushed the limits in terms of genre tolerance. When I say "genre tolerance," I'm talking about its willingness to incorporate tropes and tones from its source material. There are things you do in comics and anima

When you think of classic Christmas movies, Disney's animated 101 Dalmatians doesn't jump to mind, which is actually a little odd. Setting aside the first couple of scenes, the entire movie takes place immediately before Christmas, the majority of the film is about the titular dogs wading through a blizzard, and the finale occurs on Christmas day. Oh, and it's about getting a family back together. It is, in fact, a Christmas movie through and through. It just doesn't act or feel like one. Most of that discrepancy can be tied to fact the movie isn't interested in Christmas. Until that last sequence, the holiday is only name-checked once, and then in an ambiguous manner. Likewise, we don't see any decorations during the dogs' quest. The 1996 live-action remake is a little more complicated. It's difficult to say for certain, but the timing of the movie seems to be slightly offset. The scene before the dogs are kidnapped has "The Christm

As a rule of thumb, when there's an episode we're recommending that's embedded in the middle of a series, we advise watching it in context to get the needed background. This is different. We watched the first three episodes of The Librarians, and we think you're better off skipping to the Christmas episode. It's not that the earlier episodes were bad; it's more that they are generic as hell. They feel like an uninspired fusion of Doctor Who, Leverage, Warehouse 13, Buffy the Vampire Slayer, the X-Files... hell, basically every genre show of the past two decades shoved into a blender. The result comes off as mediocre in every possible way. Then along comes the Christmas episode, guest starring Bruce Campbell as Santa Claus, and the quality spikes. Story-wise, it's pretty generic Christmas fantasy stuff. The episode opens with Santa abducted by the Serpent Brotherhood (I promise, you're better off not having seen their first episode), a secret

After some careful consideration, Lindsay and I agree that Krampus is our second favorite dark comedy/horror/fantasy movie released this year that features the famous Christmas demon. To be fair, there was some stiff competition . Honestly, Krampus is only nominally comedy or horror - I'd describe the film as a fairy tale before referring to either of those genres. And fairy tale is where Krampus's strength lies: it's a fantasy about Christmas magic and the darker implications of that concept. In realizing this side of the holidays, the movie employs some amazingly beautiful visuals. When we first set eyes on Krampus, we're too busy staring in awe to be afraid. Which doesn't mean there aren't some jump scares and the like. But there's less horror than wonder, even when the things on screen are anything but friendly. The movie opens somewhat gratuitously on dramatized imagery of shoppers battling each other for sales. It's here both to establish t

Yet another solid Doctor Who Christmas special, The Doctor, The Widow and the Wardrobe tells the story of the Doctor's interactions with a family at Christmas. Or, more accurately, at two Christmases. The episode opens with a quick Star Wars homage, revealing a massive warship orbiting Earth. Right as it's about to open fire, something seemingly goes wrong and an explosion cuts it in half. What's gone wrong, of course, is the Doctor, who's still on board and fleeing the blast. He survives by catching a space suit while being blown through space and putting it on as he plummets towards Earth. This sequence is the low-point of the episode. It was a cool idea, but something was off in the pacing leading to the explosion: we really needed a few more seconds to accept this as a potential threat before the punchline. Likewise, the Doctor's leap through space was a little too cartoonish, even compared to the comic-book shenanigans that typically permeate this series.

South Park has always been hit or miss for me, though I've never been sure whether it's the show's quality that's uneven or my tolerance for its twisted subject matter. At any rate, they've produced episodes that rank among the funniest works of animation I've ever seen and others that I would rather have a dentist appointment than re-watch. This three parter from 2013, fortunately, falls closer to the former. It's a mash-up of Black Friday, Game of Thrones, and the console wars that fits together seamlessly into a hilarious - albeit warped - holiday tale. In addition, its focus on Black Friday is a welcome deviation from the norm: I find it odd more shows haven't played with the day. The premise is a bit convoluted, but the three episodes give them time to develop it. In order to maximize interest in Black Friday, the mall is planning to offer a massive discount to only the first thirty customers. This discount can be applied to anything in th