This is by no means to suggest that Kim Gavin, the director of the closing ceremony, is a tale-telling idiot, considering his impressive c.v. as director and choreographer, including massive events staged at Wembley Stadium (such as the 2007 Concert for Diana and Take That’s Circus tour appearance in 2009). But when seen through the lens of Danny Boyle’s triumphant opening ceremony that conjured a childlike view of Britain where healthy fun is made (“Chariots of Fire” with flatulent coda); where juxtapositions thrive, whether goofy (James Bond with the Queen), fascinating (Dizzee Rascal with Elgar), or weirdly profound (Kes with Four Weddings and a Funeral); and where an acute sense of right and wrong endures; when seen through this lens, one cannot help feel let down.

And, for the most part, let down horribly we were. Since the ceremony aired on 12 August, other critics have discussed its dullness and laziness, as well as its lack of narrative thrust. This latter fact is to be expected, considering that, unlike with the opening ceremony, there were no clear narrative markers. So, for instance, Blur’s “Parklife,” as performed by the Massed Band of the Household Division, following Madness performing “Our House” (complete with flying harness saxophone solo) was arguably done for the sake of spectacle, one fabulous element of “the best aftershow party there has ever been” (as Gavin himself claimed before the ceremony aired), rather than to explore variations on a theme.

But it is the two former qualities mentioned above that I found especially egregious in the closing ceremony’s view of Britain. Called “A Symphony of British Music” (a title arguably loaded with class connotations), the (mostly English) music chosen for the ceremony reminded me of Theodor Adorno’s formulation in “On Popular Music,” that “the composition hears for the listener.” Mechanized and standardized pop is an easy target, to be fair, considering the Simons (Cowell and Fuller) made their svengali presence known with the appearance of One Direction and the Spice Girls, boy- and girl-bands whose bots were chosen for such ill-defined marketable reasons as “demographic appeal.” But on an aesthetic level, the musical choices and performances were so bland as to be unmemorable. True, George Michael’s initial offering (“Freedom ’90”) teased tantalizingly electric proceedings, but this symphony sounded off-key.

Perhaps this was because of the unpreprocessed emotion of the 17 days’ worth of athletics which came before the closing ceremony: the best efforts of NBC, the BBC, and Tumblr aside, it’s impossible to recreate the glorious spontaneity of Mo Farah’s wide-eyed beaming, McKayla Maroney’s devilish moue, or Jessica Ennis’ tears in a massive pyrotechnic-sprayed choreography explosion. In stark contrast, the “spontaneous” moments of “cheeky” juxtaposition in the closing ceremonies (Fatboy Slim on a giant octopus! Annie Lennox on a ghost ship! Russell Brand on a bus!) seemed less childlike than familiar, focus-grouped to within a note of its life, with the intention of pleasing everybody and ending up pleasing very few people at all.

As a result, what could have been a chance to celebrate the achievements of the multicultural parade of athletes that entered the stadium (for me, the only moment in the closing ceremony that gestured towards Boyle’s humanistic vision in the opening ceremony) ended up being an empty charade of tired (at best) and xenophobic (at worst) performances, of which Eric Idle’s attempt at bhangra, where the object of the unhealthy fun was the unnatural and exotic movements of the dancers and not the white person attempting them, was the most glaring.

What is more, if the opening ceremony used the past to remind us that a nation’s evolution depends often on the marginalized (not for nothing did Boyle include suffragettes, Afro-Caribbean immigrants, and trade unionists in its opening sequence), the closing ceremony used the past only as an old newspaper from which reassuring headlines and articles could be clipped. From the tie-dyed Union Jack painted on the floor of Olympic Stadium, to the Michael Caine quotation from The Italian Job (Peter Collinson, 1969) that began the night, to the tributes to John Lennon and Freddie Mercury, to the appearances of the Who and Pet Shop Boys, to the inclusion of songs by David Bowie and Electric Light Orchestra and Kate Bush and the Bee Gees, to the recreation of the cover of Pink Floyd’s 1975 album Wish You Were Here: ultimately, these backward-looking and regressive beats seemed like the expressions of a nation of Little Englanders, wanting nothing more than a return to the insular “good old days,” before the Eurozone crisis and the riots.

A more progressive ceremony, one closer to the vision of London 2012 proposed by Boyle on 27 July, might have highlighted more contemporary performers like Emeli Sandé, Taio Cruz, and Tinie Tempeh (all of whom, to be fair, sang more than one number during the evening), a musical Team GB whose multicultural background and thrilling sounds would undoubtedly make Conservative MP Aidan Burley and Daily Mail scribblers collapse in race- gender- and class-based heaps of fury. And that would signify everything.

That is, if all news reports as of this posting are to be believed. And therein lies a problem with coverage of a massive media event in which tens of thousands of performers, staffers, security, and volunteers are taking part, and at which rehearsals are open to select members of the public: there’s a fine line between reportage and speculation, between anchoring a story with hard facts and sketchy details, between making audiences aware of a story’s own shortcomings and unashamedly trolling for pageviews. It’s a wonder that Sebastian Coe, head of LOCOG (London Organizing Committee of the Olympic Games and Paralympic Games) even bothered to sign off a Tweet with #savethesurprise. Coe should recognize that, in an information landscape driven by the engine of social media and fueled by unnamed sources and cameraphone artifacts uploaded to YouTube, keeping everything under wraps is (nearly) impossible.

As other Antenna writers have noted, the media texts surrounding the 2012 London games serve to brand Britain. And the opening ceremony seems to be no different. But what sort of “Britishness” might be on display? I raise this question with the caveat that, come Friday, July 27, some of what I’m about to explore might not be entirely accurate.

Based on aerial paparazzi photos of the Olympic Stadium during the construction of the ceremony, and on its reveal in June 2012 , artistic director Danny Boyle’s vision for the opening ceremony seems like it has come straight from the mouth of one of the unnamed children babbling at @PreschoolGems. There will be geese, goats, horses, cows, people playing cricket on a village green, farmers tilling the soil, maypole dancers, factories, an oak tree, and clouds that produce rain. Not to mention recreations of Glastonbury Tor, the River Thames, and the Houses of Parliament. Boyle seems like Caden Cotard in Charlie Kaufman’s Synecdoche, New York (2008), the obsessive director who recreates the minutiae of his New York life in an abandoned warehouse in Manhattan. (An apt comparison, for, according to reports, Boyle’s crew is arguing with the crew that will be filming the sporting events over the placement of their cameras. And besides, what is London’s Olympic stadium when it’s not being used but an empty warehouse in London’s East End?) Another promotional text, the BBC’s London 2012 trailer, similarly riffs on the idea Boyle is deploying, that of “Stadium UK,” wherein the nation (literally) comes together in a giant stadium.

Stephen Daldry, Boyle’s executive producer, has said the ceremony will be “a journey that will celebrate who we are, who we were and indeed who we wish to be.” It’s fascinating to map that formulation on the reported tripartite structure of the ceremony, called “Isles of Wonder” (more on that below), which will celebrate Britain’s “green and pleasant land,” demonstrate the “dark satanic mills” of the Industrial revolution, and segue into Mod(ern), contemporary, and future British life.

Except the lyrics to “Jerusalem” (the song developed around William Blake’s poem “And Did Those Feet In Ancient Time,” which is probably its better-known iteration), from where the titles of the ceremony come, celebrate England, not Britain. The music and musicians attached to the opening ceremony are overwhelmingly English. The cultural events promised to be highlighted, from the high-culture Proms and the cricket match to the low-culture Glastonbury Festival, are quintessentially English. Maypoles topped with daffodil, flax, and thistle and short films of choirs singing “Cwm Rhondda,” “Danny Boy,” and “Flower of Scotland” seem like insufficient tribute to the three other British countries that aren’t England. Indeed, in spite of Boyle’s stress on the inclusivity of the opening ceremony, what ultimately is elided is Britishness.

Yet, for all intents, the Britishness that gets replaced with Englishness in the ceremony promises to be a specific kind of Englishness. In spite of the slow gentrification of the East End that the Olympic stadium promises, most of the performers hail from the East End, known in the (inter)national imagination as a working-class, poverty-stricken, and crime-ridden area. Of course, Boyle giving work to the un- or under-employed could be read through the same lens as his work with “real” slum children in Slumdog Millionaire (2008); that is to say that he’s ultimately exploiting them with this patronizing gesture. There is a strange disconnect between the fact that rehearsals for a ceremony costing the British public 27 million pounds ($42 million) are taking place in the Ford Dagenham plant, site of the strike that led to the Equal Pay Act 1970, the first British legislation aimed at ending pay discrimination based on gender. But  that’s part and parcel of Boyle’s interest. While he’s certainly no longer the same tyro that wowed critics with Trainspotting (1996), his work has been largely consistent, in that he’s invested in giving the marginalized a voice.

This same interest in the marginalized is inherent in the title of the ceremony, “Isles of Wonder,” Boyle’s squinted-eye interpretation of a line spoken by the monster Caliban from The Tempest. Here, Boyle, perhaps unwittingly, sees the ceremony to be an expression of his radical politics. Yes, the monologue in which Caliban speaks the line, “Be not afeard. The isle is full of noises, / Sounds and sweet airs that give delight and hurt not” celebrates the beauty of the island, but he delivers the monologue immediately before he plots to destroy his master Prospero. And yes, in the narrative of the play, Caliban’s revolution may ultimately be ineffective, but it’s revolution nonetheless.

It’s important to note that the first line from the quote above will be engraved on the largest harmonically-tuned bell in the world, which will feature prominently in the ceremony. It’s not idle fancy to hope that the ringing of this bell can mean both a celebration of Britishness and a collective yell by a great British son seething with populist anger.

Then again, maybe the show just seemed more spot-on due to the confluence of its fiction with actual snafus in the ramp up to the Games. In that regard, the scheduling decision to split up the second series and air its final three episodes in the weeks leading up to the Opening Ceremony was a stroke of genius, as the confluences have compounded with time growing short, leading to a flood of articles praising the show for its prescience and enabling Twenty Twelve writer/director John Morton to direct a clever jeer at the real planners: “Why can’t they make up their own problems?” For me, the pleasures of Series 2 are rooted more in mockery of language than events (a single word: Jubilympics). But whether the catalyst was actually in script or newspaper pages, Twenty Twelve vaulted in critical esteem from “not as amusing as what it’s trying to send (a little bit) up” in its early episodes to “a perfectly played and painfully close-to-home satire” in its final ones. No mockumentary has benefited more from how the reality of its subject matter coincided with its airing.

It’s also striking that the BBC, responsible for bringing the Olympic Games into British homes, albeit not organizing them, has been eager to present mockery of Games planning and bureaucratic incompetence at a time when its own oversight structures are perilously up for debate. But this seems suitably British. Slate’s June Thomas describes, “Pessimism is as ingrained in the British character as a craving for steak and kidney pie…It’s as if Britons believe they can inoculate themselves against disapproval by bad-mouthing themselves earlier and more viciously than any outsider would dream of.” Of course, Twenty Twelve isn’t all that vicious, and committee head Ian Fletcher is actually pretty good at his job (after all, he’s Lord Grantham). But fittingly, Fletcher’s primary talent consists of papering over real problems with meaningless words, as displayed in the Telegraph this week, yet another venue for the real and the fake to come together.

But for all the whinging Londoners have done about the Olympics, another BBC show this week unearthed the sincere excitement and pride Britons are apparently fostering underneath those layers of pessimism. It was announced in December that on the BBC’s flagship soap opera EastEnders, the oft-beleaguered character Billy Mitchell would be an Olympic torchbearer, with actual London 2012 chairman Sebastian Coe speaking of him and the fictional borough of Walford as if they were real. Then on Monday night, EastEnders inserted a live segment into an otherwise pre-taped episode depicting Mitchell carrying the torch to its next bearer, with the start of the live portion signaled by Mitchell’s portrayer, Perry Fenwick, winking at the camera.

http://youtu.be/Hlm-4Ttks28

This was yet another form of the scripted and real coming together, as the image shifted from polished soap aesthetics to liveness connoted by the unsteady, distant camera, while fictional Walford residents cheered on Mitchell/Fenwick as he ran with an Olympic flame. It was almost a disaster, of course — Billy was trapped on the Tube as his allotted time neared — but the problem wasn’t caused by organizing committee incompetence or a transport breakdown; it was just Billy Mitchell’s usual bad luck augmented by standard soap opera delay drama. In other words, it was good TV. And the tweets from British viewers watching the episode indicated its effectiveness:

Lovely, uplifting TV there on #EastEnders. Well done everyone! You should be very proud. #EElive — David Brown (@MrDavidEBrown) July 23, 2012

still trying to work out why Billy with the Olympic torch was really really moving. oh brain. you work so weirdly. #eastenders — Grace Dent (@gracedent) July 24, 2012

Umm..I just watched the Eastenders live Olympic torch ep.. And cried.. Could be the rum or the fact that Eastenders is the best soap ever! — kaya scodelario (@kayascollywogs) July 24, 2012

Watching eastenders from Monday when Billy carried the torch made me more excited than when I saw it in denham the other day! #GOBILLY— Ellie Druce (@Elliedruce) July 25, 2012

I’m calling it. Live #Eastenders was a f**king triumph. — Lisa Moran (@Lisa_Moranio) July 23, 2012

There were still cynics, inevitably (see the comments section here, if you must). But I sense that a significant majority of the nearly 8 million British viewers watching this segment genuinely enjoyed the unifying live experience of a real international ritual carried out on some of the country’s favorite fictional streets. In both this case and Twenty Twelve, the real and the scripted blending together made for compelling entertainment, whether it celebrated patriotic joy or colossal failure.

______________________________________

– Twenty Twelve‘s final two episodes air on BBC America Saturday night at midnight Eastern Time.
– It should be noted that the visit to the EastEnders set wasn’t part of the official Olympic Torch main route
– Olivia Colman is an incredible actress. That is all.

As we approach the London 2012 Games, it is worth reflecting on the promotional paratexts that surround the Games, as these are often, too easily, mocked or dismissed in ways that do not sufficiently account for the complexities of promotional design work, or the way that texts such as logos and mascot films amplify clusters of meaning and expectation around media events. The London mascots, Wenlock and Mandeville, have been a particular subject of press criticism since their unveiling in 2010 – two sleek CGI characters distinguished by a huge cyclopean camera-eye.  Generating revenue through toy licensing deals, the mascots have also been designed to embody the digital address of the Olympics, inviting children to interact with their “Olympic journey” through virtual encounters on Twitter, Facebook, and an interactive website. While their alien look has led to some very un-childlike descriptions within international media coverage – Vanity Fair calling Wenlock a “ghoulish cycloptic phallus,” the Toronto Sun describing the mascots as “walking penis monsters,” and Twitter postings labelling them “terror sperm” – Wenlock and Mandeville are a deliberate departure from the history of cuddly Olympic mascots first embodied by the cartoon bear Misha at the 1980 Moscow Olympics and carried through to Beijing’s Fuwa mascots. Phallic fears notwithstanding, they assume the appearance of high-tech toys born from – and for – a digital world.

Like the graffiti design of the London 2012 logo, which also received a press drubbing when unveiled in 2007, Wenlock and Mandeville have been given a deliberate multimedia inscription. This is captured in a series of animated mascot films released periodically in the UK leading up to the Games. Viewable online, on British children’s channels such as CBBC, as well as in film theatres, the film shorts began with Out of a Rainbowin May 2010 and have been followed by Adventures on a Rainbow (March 2011), Rainbow Rescue (December 2011), and Rainbow to the Games (May 2012). Animated by the Chinese digital media firm Crystal CG, these films reveal interesting networks of production. In industry terms, the mascot films are the result of multi-level collaboration taking place between British and Chinese creative personnel. While the shorts were written, produced, directed, narrated, and scored by British artists, much of the animation production was completed in Crystal’s offices in London and Beijing, highlighting the rise of Chinese digital expertise in the media  industry sub-sector of promotional design. 

Textually, the animated shorts serve a particular brand function in the UK, selling the Games as a participatory national event and identifying a diverse and youth-friendly selection of British Olympians as its sporting face.  The shorts also, importantly, develop a narrative of media engagement, anticipating the Olympics through mobile screens and social networking sites aimed specifically at children. The liquid design of Wenlock and Mandeville and the use of mobile phones and SMS messaging within the narrative arc of the mascot films both reinforce the digital identity of the London Olympics. While UK factories are figured in the mascot films as central to building the physical infrastructure of the Games, the meaning of the Olympics is vested in the mobile, data-driven world of the mascots. While the new media aesthetic of the logo and mascots has come under fire – one media critic labelling Wenlock and Mandeville “appalling computerised smurfs for the iPhone generation” – the entryway paratexts of London 2012 are more interesting than these sniffy descriptions suggest. Not least, they reveal the changing way that media brands, including the Olympics, are seeking to reconstruct themselves for the converged digital media environment. To what extent the London Games lives up to aspirations of being the first digital Olympics, and whether the mascot films become mere fig-leaves for impending organizational pratfalls, remains to be seen.