If there’s one thing Steven Moffatt loves to do with Doctor Who, it’s to find a monster buried in the mundane. He’s made statues, shadows, lost children and even the idea of silence into some of the show’s most terrifying villains. Sadly, the mysterious extra door you often find in older hotel rooms isn’t as universal a concern, but it’s still a rich seam for him to mine. That’s the inspiration for “Joy to the World,” Doctor Who’s 2024 Christmas Special. Which is light, fun and a little bit scattershot, much like Christmas is meant to be, right?
When Doctor Who returned, the show was woven back into the UK's cultural firmament in a way it never had been before. Part of that process was adding the show to the BBC One Christmas Day schedule, making it a universal cultural touchstone. For most of its post-2005 run, it has aired an episode next to the Strictly Come Dancing and EastEnders’ festive specials. Imagine the British equivalent to those everyone-gathered-around-the-TV events like the Super Bowl or the Macy’s Day Parade, but on Christmas Day. Even if you don’t like any of the fare on offer, you’re still expected to sit with the family and consume it.
With these specials, the prestige timeslot, longer runtime and bigger budget are burdens as much as they are benefits. The show has to play to a far broader audience than normal, with diehard fans sitting elbow-to-elbow with elderly relatives filling every silence with gossip about their neighbor's garden project. Consequently, the story needs to be a little looser, with less need for the audience to be paying undivided attention to what’s going on. And it needs to be an oasis of fun in the melodramatic drudgery that is the BBC One Christmas Day schedule.
Normally, the festive special would be the sole province of the showrunner but Russell T. Davies handed the reins to Steven Moffatt. Moffatt succeeded Davies as showrunner the first time around, co-created Sherlock and is widely-regarded as the best Who writer of the 21st century. With a pedigree as impeccable as that, and having already written "Boom" for the Ncuti Gatwa’s first season in the title road, expectations are high.
Bad Wolf / BBC Studios
Moffatt is an arch farce writer and has a strong grasp of structure, so it’s no surprise we open in medias res. The Doctor is offering room service to a variety of people in different time periods including Edmund Hilary’s base camp at Everest and the Orient express before stumbling in on Joy in a miserable London hotel room in 2024. After the credits, we spool back to the Doctor arriving in the Time Hotel, which allows guests to vacation throughout history. Don’t worry about causality or any A Sound of Thundershenanigans, the Hotel is somehow built to protect its guests from screwing up the timeline.
The Doctor is looking to steal some milk for his coffee from the hotel buffet, but his eye is caught on something sinister: A person carrying a briefcase with a handcuff chain is trying to check into a room. The Doctor recruits Trev, one of the employees, to keep watch while he scouts ahead to work out what scheme could be afoot. As it turns out, the case is sentient and evil, leaping from host to host and possessing each one in turn. Once it’s leapt to the next host, the last one disintegrates.
Bad Wolf / BBC Studios
It’s here the Doctor bumps into Joy who, through hijinks, winds up handcuffed to the case in place of the hotel manager. When the Doctor opens the case to try and find a solution, the case threatens to kill whoever it’s connected to unless it gets a four digit code. Who shall provide the code? The Doctor, emerging from his own future, taking Joy with him while leaving “our” Doctor trapped in 2024 without the TARDIS. As the hotel door closes, the Doctor hurls abuse at his future self, about why he’s always alone and people are always leaving him. He’s doubly upset as he never normally has to travel “the long way around,” one day after the other.
And so, the episode essentially stops to give us an extended sequence of the Doctor making friends with Anita, the hotel manager. The Doctor gets a job as the hotel’s handyperson, and slowly lets his guard down, spending more time with Anita until they’re a platonic couple. It’s a sequence you’d never see in a regular episode, with snatches of the Doctor and Anita’s life. He makes the microwave bigger on the inside, repaints Anita’s car TARDIS blue and they even sit and talk to one another on chairs — a key visual given the lack of chairs on the TARDIS. But as the year elapses and it’s time for the Doctor to return to his own show, he waves goodbye to Anita.
Bad Wolf / BBC Studios
Returning to the time hotel, the Doctor bursts back in on the events of a year ago, sharing the code and yanking Joy off to new adventures. The Doctor works out the briefcase holds the embryonic form of an artificially-created star that would offer a source of imaginable power to whoever owned it. But unless you own the Hand of Omega, stars take a long time to develop, far longer than anyone would be able to wait and test their experiment. Unless, of course, you hijack a time hotel and send it back to dinosaur times, waiting for when human history begins to see if it works.
Joy, still possessed by the case, heads to the hotel’s dinosaur room while the Doctor tries to break its hold over her. To do that, he provokes an emotion strong enough to poison the link between the case and its host before it obliterates them. He bullies her, goading her into disclosing why she's staying at a downmarket London hotel. Turns out she’s grieving the loss of her mother who died of COVID-19 in an isolation ward and Joy was unable to say goodbye to her in person. Sadly, before the Doctor can deactivate the star seed, it’s eaten by a (brilliant-looking) dinosaur, putting it out of his reach.
Bad Wolf / BBC Studios
The Doctor and Joy head back to the hotel and, 65 million years later, find the star is now ready to detonate. It’s been locked inside a stone structure with a heavy stone door that neither of them can move, and time is running out. So, the Doctor, who boasts that he’s “good with rope,” steals a rope from the Everest base camp, hanging it off the back of the Orient Express to haul the stone away.. It’s an impressive and kinetic sequence let down only by the dreadful CGI when Gatwa’s standing on the train. Typical Doctor Who: It can now do convincing dinosaurs, but now can’t do a convincing train.
It’s here things lose their coherence, since Joy’s eyes flash with possession energy, but by the time the Doctor returns, Joy has… eaten the star? Absorbed it somehow? Made friends with and bonded with it? He finds her standing on a cliff edge, where Joy says she’ll merge with the star and take it to the heavens, where it will do nobody any harm at all. At this point in my notes, I wrote “Don’t let this be Bethlehem,” when the camera pulls out to reveal that’s exactly where they are, complete with three camels parked outside a stable. Oy.
Bad Wolf / BBC Studios
Joy reunites with her mother and the Doctor goes back to traveling, but not before he gets Anita a job running the Time Hotel. We also get a little shot of Ruby Sunday, who will return to the show for its second season proper.
As I said at the top, you can’t judge “Joy to the World” on the merits of a regular episode since it’s serving multiple masters. But I don’t think we could call it the strongest episode of either Steven Moffatt’s oeuvre or the show’s various Christmas Specials. Like all of the Disney-era episodes, it has a slightly incoherent quality where the pacing sags and zips in all the wrong places. I’m for the lengthy aside where we see a “normal” year in the life of the Doctor, but the story framing it should have been tighter to balance out the slowness. It’s a fun enough way to pass an hour with a stomach full of holiday turkey (or your preferred equivalent) with enough mawkishness to make you think you’ve seen something quite profound. But I don’t think I’ll be coming back to watch this one again and again like I would for, say, “The Christmas Invasion.”
This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/doctor-who-joy-to-the-world-review-what-a-star-190018215.html?src=rss
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Hello! Here's a holiday gift: an episode of the 404 Media Podcast that was previously only for paying subscribers! It gives a lot more context on the how and why we cover AI they way we do. Here's the original description of the episode:
We got a lot of, let's say, feedback, with some of our recent stories on artificial intelligence. One was about people using Bing's AI to create images of cartoon characters flying a plane into a pair of skyscrapers. Another was about 4chan using the same tech to quickly generate racist images. Here, we use that dialogue as a springboard to chat about why we cover AI the way we do, the purpose of journalism, and how that relates to AI and tech overall. This was fun, and let us know what you think. Definitely happy to do more of these sorts of discussions for our subscribers in the future.
Listen to the weekly podcast on Apple Podcasts,Spotify, or YouTube. Become a paid subscriber for access to this episode's bonus content and to power our journalism. If you become a paid subscriber, check your inbox for an email from our podcast host Transistor for a link to the subscribers-only version! You can also add that subscribers feed to your podcast app of choice and never miss an episode that way. The email should also contain the subscribers-only unlisted YouTube link for the extended video version too. It will also be in the show notes in your podcast player.
AI slop has consumed Facebook, is running Wikipedia editors ragged, is rapidly destroying Google search, probably put an extra finger on the scales of election influence, is confusing and annoying crafters, steals endlessly from authors, is on its way to demolish YouTube comment sections, and will probably end up in a movie theater near you sooner than you think. But if you’re streaming Christmas music today, did something seem a little off to you? If so, there’s a very good chance you’ve been listening to AI-generated carol-slop.
As spotted by video game developer Karbonic, YouTube compilation videos are sneaking AI generated songs into their mixes.
The Slop situation is getting so dire man I found a video with millions of views claiming to be Classic Christmas music, but all of it is just weird AI covers of the songs, with thousands of comments that seem unable to tell the difference pic.twitter.com/K6sg8R7FWU
The example they posted, “Best of 1950s to 1970s Christmas Carols ~ vintage christmas songs that will melt your heart 🎅🎄⛄❄️,” has more than five million views and more than 2,000 comments. A ton of the comments appear to be engagement-farming bots, saying things like “I'm looking forward to Christmas 2024, is anyone else like me?” but many seem human. “It takes me back to my childhood and I realize how wonderful life was before worries about money and so many futile things that dont matter,” one person wrote. Another commented, “Missing memories of my youth. But, grateful for the blessings in my life. Merry Christmas and God bless you.❤”
If I put this on in the background while doing something else, I might not think anything of it. But there are points in the one hour 18 minute video that give it away as AI: “O Little Town of Bethlehem,” around the 36:55 mark, is the lyrics of that song but the melody of “Silent Night.” If you compare it to an actual recording of Nat King Cole singing “O Little Town,” the difference is even more obvious. Once you start noticing the warped tunes, they’re hard to un-hear. “Oh Holy Night” is listed in the video as being by “Nei Diamond,” who as far as I can tell doesn’t exist, or is a typo of Neil Diamond, who is definitely not the singer in the song on this compilation. “The First Noel,” attributed here to Nat King Cole, is either an undiscovered recording where Nat and the choir run some really wild riffs, or is AI.
I won’t list every tell in this video, but there are many and they give me the heebie jeebies. Other videos in this channel, Holiday Serenade Library, seem to be pulling the same grift, sometimes with AI-generated video of people blurring around outdoor markets, Santa with a burning sleigh and reindeer on fire, or children with weird mustaches skipping through the snow.
A quick search around the internet to see if anyone else has encountered other holiday-flavored AI slop turned up a recent Reddit thread where people were complaining about seemingly fabricated Spotify artists haunting retail workers during an already agonizing season. They list Dean Snowfield, North Star Notesmiths, Sleighbelle, Frosty Nights, The Humbugs, Snowdrift Sleighs, and Daniel & The Holly Jollies as artists on Spotify that have snuck into Christmas playlists but have little to no trace of a career outside of the streaming platform. Some of them, like several of Dean Snowfield’s songs, sound like midi mixes with a stilted voice singing the lyrics. These artists make it onto huge, popular playlists like “Old Christmas Music” alongside real songs. It’s honestly hard to tell whether these artists are AI-generated or just mass produced. But their Spotify artist bios often have the same exact text, or follow this pattern:
“Dean Snowfield are songwriters, artists, and musicians who have combined forces to release holiday themed cover songs on their independent record label, distributed by Warner Music's ADA. In November and December, their ‘A Nostalgic Noel’ sampler managed to generate over 8,000,000 streams across Spotify and Apple Music. As a collective of artists, Sleighbelle have a great deal of respect for the original songwriters and producers who created these beloved holiday classics, and ask that you support them by streaming their original versions. Without songwriters like Edward Polo, George Wyle, Huge Martin, and Ralph Blane, we wouldn't have this music to interpret and cover. Thanks for listening to our labor of love, and make sure to follow us on our socials. - Dean Snowfield”
They didn’t just appear this year: Third Bridge Creative, a music creative agency, noticed these artists dwelling in the uncanny valley last Christmas, too. “Is it a coincidence that each of their top songs match up with the respective iconic Christmas hits? Why would I ‘immerse [my]self in the enchanting world of Christmas music with Dean Snowfield’s’ low-key creepy Nostalgic Noel when I can put on The Dean Martin Christmas Album instead?,” they wrote.
These artists are still massively popular on Spotify, with hundreds of thousands of listeners each. The North Star Notesmiths and Dean Snowfield have a very similar male singer’s voice on several songs. Frosty Nights and Daniel & The Holly Jollies also sound awfully alike. They’re all signed by Warner Music’s ADA label, according to their Spotify bios—the “label services arm of Warner Music Group, breaking brand new artists and supporting industry legends,” according to the label’s site—so I’ve reached out to Warner Music to ask what is going on here and will update if I hear back. Spotify also did not respond to a request for comment.
Getting sick of Spotify shoving obvious AI slop with ridiculous holiday band names into a Christmas Oldies playlist like nobody will notice. pic.twitter.com/pFHIvR85ZK
Again, it’s still not clear whether these artists are AI-generated or human, but a lot of people seem to think there’s something amiss. To make it all a little weirder, after I emailed ADA for comment, Dean Snowfield commented on one of my Instagram posts and said “Congrats on the book release!” I hadn’t interacted with, or found a way to reach out to, Snowfield at all prior to his comment. Snowfield’s Instagram account is private, and he keeps rejecting my requests to follow it. He has 36 followers and 3 posts.
In the meantime, stay vigilant out there and Merry Christmas from a real human.
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