Strictly Come Dancing Halloween Special Part II: Let’s Do the Timewarp Again, If You Insist!

So, last week I noted that one of the interesting things about Strictly‘s Halloween night special was its sense of the key horror monsters and sub-genres, but it seems that I didn’t elaborate enough. So, let me be a bit clearer.

If this year was all very ‘Tim Burton’, the central feature is less about the director of Edward Sissorhands (and mate of David Cameron), but rather about a version of the Gothic that brings together the classic Universal monsters with fairy-tales and folklore.

As a result, there isn’t much Jigsaw (from Saw) or Freddie (from Nightmare on Elm Street) or Jason (from Friday the 13th) or even Michael Myers (from Halloween). In fact, there was a marked absence of serial killers altogether. Not even Norman Bates or Hannibal Lector get a look in.

Instead, Frankenstein’s monster was on hand to usher the dancers off stage, but Leatherface was nowhere to be seen.

Similarly, while last year was relatively free of the Tim Burton touches, it relied on the same conception. There was a Scooby Doo dance routine, and an mad scientist number. The classics were also evoked through a performance that featured circus freaks, and another with a hint of vampirism. Even when series winner, Louis Smith, gave us a zombie dance, it was less Night of the Living Dead and more the return of the Graveyard Ghoul. In other words, his zombie was a monster that was more closely associated with folklore than cinema. It is therefore striking that other routines also included another corpse-bride-type ghoul, a sinister warlock and a rather sexy Little Red Riding Hood, featuring Girls Aloud’s Kimberley Walsh simultaneously attracting and rebuffing a sexually predatory wolf – or at least that was my reading of what was going on…

Nor were things so different this year. The association with black magic and zombies cropped up again in a voodoo-themed dance, while there was an absolutely baffling (to me) number involving scarecrows (okay so there are a few horror stories involving scary scarecrows, but these scarecrows were hardly scary and I wouldn’t say that the scarecrow had a particularly strong association with horror or Halloween … maybe its just me).

There was a female vampire from Sophie Ellis-Bextor, and a rather fabulous ‘lady from the lake’ routine, in which the clothing was suggestive of ghosts and/or the walking dead, but that was about it. In another dance sequence, ghostly, cobweb-covered portraits became animated, which is always nice, and we got yet more cases of graveyard dead. There was Dave Myers from the Hairy Bikers doing the Monster Mash in make up that made him look like Michael Keaton from Beetlejuice; and another Tim Burton film was referenced in a routine that drew heavily on Mars Attacks! But as so often happens most of the references in the other routines went straight over my head. Quite what the shirtless rugby player had to do with Halloween completely escaped me.  But then, just when we were feeling a bit confused, Susanna from the Breakfast News was chased by a werewolf, just to reassure us that we knew where we were again.

And of course everything is done with a sense of campy dress up which is less Tim Burton and more Rocky Horror.

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Strictly Come Dancing – The Halloween Special

[It’s from last year but what the hell!]

So it is another week when the REF has kept me from more worthwhile pursuits like discussing Tales from the Crypt, or Dead of Night, or the final episode of Dexter, which kept me up half the night – not from fear but from a really heartfelt sense of melancholy. Of course, I won’t say why, and not just because of SPOILERS – when I get the chance, I want to take some time with this series, which has given me so much pleasure over its various seasons. I don’t know about you but, when its on form, I find it really moving…

Okay, moving swiftly on, before someone calls the psych-ward, I thought I would give a moments thought to the fact that it was Halloween this week, and rather than finding myself with Jamie Lee Curtis in the house, a serial killer on the loose outside and a double bill of Forbidden Planet and The Thing from Another World on the TV, there seemed to be very little Halloween related on the box – except for a Strictly Come Dancing Halloween Special.

For those of you who are not privy to the wonders of British Saturday Night Television, Strictly Come Dancing is the show that is called Dancing With the Stars in the US – although the BBC version is the original, which also discovered Len Goodman and Bruno Tonioli, who are judges on the British version, too.

The Special basically involved the same format as usual, but with Halloween-themed costumes, routines and songs, and judges’ paddles that were shaped like ghosts. Not particularly scary, but with a lot to tell us about horror television.

First, one gets an interesting glance into what is imagined to be the popular perception of the key horror monsters and sub-genres, although, second, we also got a very selective tradition that seemed to largely consist of a version of the Gothic that had been filtered through Tim Burton – even when we get a reference to science-fiction-horror, it was less The Thing from Another World or Creature from the Black Lagoon than a case of Mars Attacks!

Then, there is the question of what happens to horror when it becomes something that can be used to ‘theme’ regular programming, like a Christmas Special. Which of course makes me immediately wish that we had a Johnny Cash Horror or Halloween Special, along the lines of the great man’s Christmas Specials from the 1970s. I can see him singing ‘The Man Comes Around’ on it as clear as day – or night!

And of course that raises the question of horror tastes. Loads of people who claim not to like horror wouldn’t have a problem with this kind of show, while lots of horror fans would hate it. I might like both but largely as an exercise in schizophrenia (in the horror sense of the term – split personality – rather than the clinical sense).

But separating this kind of horror material out from ‘real’ horror seems to simple to me. What it shows us is the complex ways in which horror is part of a common cultural language, on television and in other media, which may produce a variety of different kinds of identification. People may claim to hate horror in one context and yet have no objection to the genre in other contexts or at particular times of year.

Hell, Christmas television is full of material that would be dismissed as wildly inappropriate at other times of the year, but which is given a certain license at yuletide – remember the episode of Beverley Hills 90210 where Steve ran into Santa Claus?!?!

Anyhow, I am now taking votes on the scariest thing in the Strictly Come Dancing Halloween Special – there is a lot to choose from!