The Death Of Magic

When I was an impressionable teen I got into magic. Or rather the idea of magic. In fact this occult interest lasted well into my impressionable twenties.

At the time the occult section of Waterstones (now, I believe, respectably entitled “Health, Body and Spirit” or some such) was bursting at its magical seams with middle class grimoires from the likes of Laurie Cabot and other darker tomes from the late, great and dangerous-to-know Aleister Crowley, who is in fact a fellow Leamingtonian.

I have to say I was swept along more by the theory than the practice though I do recall once going into an “alternative” shop in York and buying a wand that looked like a Native American phallus. All dangly feathers and a ruddy great bulbous crystal sprouting from the end of it. It languished under my bed for years until I offloaded it onto a kooky ex back in 2003. I don’t miss it at all.

As for Crowley... well I was never tempted to try out any of his Magick™, beleaguered as it was with demons, drugs and downright moral depravity but I did purchase a lot of his books. I got about 2 thirds through his immense autohagiography (for those of you who don’t know an autohagiography is supposedly the biography of a saint) before getting bogged down in lengthy "he said / she said" transcripts of various conversations Aleister had enjoyed in various privileged gentleman’s clubs across Europe. It all got a bit stuffy. I just wanted the salacious bedroom exploits and the otherworldly descriptions of the Abyss not the scripts from an Open University staff meeting.

I still own the books and have a few rarities too including a copy of his very dirty poem “Leah Sublime” (which in the modern age is no worse than a 6th form Rugby song).

I keep them now not out or any respect for magical lore but as interesting historical documents. As a figure Aleister Crowley has, I think, stood the test of time. The magical theories, I’m afraid, I now view as complete bunkum. It’s plainly obvious that Crowley was doped to his eyeballs most of the time on heroin and cocaine and various other Victorian opiates and spent a great deal of his time reading esoteric texts and then hallucinating as a direct consequence.

One story from the autohag is a case in point:

Aleister recounts an occasion when he saved a man servant’s life by wrestling a demon to the ground. It’s one of the signature notes of his autohag and makes a great read. However, that same man servant later independently recounts Aleister taking various drugs and then suddenly attacking him. The man servant was lucky to get away with his life, his dignity and his virtue intact. Enough said.

But there was more to Aleister than the dodgy magic. There was philosophy, literature, appalling poetry and a rock and roll lifestyle a good 60 years before rock and roll was even invented. He’s a genuinely interesting character and I may write more about him in the future but don’t have the room or the time now.

Laurie Cabot – an American white witch – is another case entirely. Stephen Fry met her earlier this year during one of his televised road trips across the States and she came across as an aging nutter who spent her time living in a yurt for the tourists and touting feather-based love charms for the sad, lonely and financially incontinent.

I can’t believe I ever fell for any of that crap. It all seems utterly ridiculous now.

Me and magic have, alas, parted company. I’m no longer a believer.

Which isn’t to say I don’t keep an open mind on ghosts, UFOs, and other paranormal oddities.

But magic... magic I’d like to believe in but sadly just don’t anymore. I’ve grown out of it. It’s a young man’s dream, borne out of ignorance and wishful thinking; a desire to control the uncontrollable.

Nowadays I’m more accepting of the uncontrollable. In fact part of me is rather glad that there are some things beyond my control – I can take neither responsibility nor blame for them. It’s an immense relief.

And yet...

...and yet there is a tiny part of me that is sad that I have lost this wide eyed belief in magic. The world seems a little smaller, a little greyer as a consequence. It’s like figuring out the true identity of Father Christmas. You still get the presents. Nothing physically changes in the world.

But the magic has gone.

Go To Hell

ITV do bad sci-fi.

This wasn't always the case. I have very fond memories of Sapphire & Steel as a kid but I'll be the first to admit that my powers of discernment were a little erratic when I was 10 years old (I also rated Chorlton & The Wheelies among my favourite shows).

But in later years ITV has consistently failed to produce / buy-in a decent sci-fi show. God knows they've tried. For example, in recent years we've had the God-awful Primeval. That show tried so hard to attain the level of "sci-fi cool" it was too painful to watch.

And now - broadcasting for the first time last night - we have Demons.

I'm sad to say that it suffers from the same malaise as Primeval. Stilted, amateurish scripts, transparent plotlines, sketchy characterization and a too heavy reliance on CGI effects and rubber latex (as in face make-up rather than anything kinky in the bedroom - alas).

It's a pity. It has some winning ingredients: Philip Glenister; that sexy doc girlie from Survivors (Zoe Tapper). And, er, that's about it.

But really that should be enough. Glenister is just cool per se. He holds the screen like a Hadron Collider magnet. And Tapper just oozes a rampant snoggability that promises to set the screen alight.

So why doesn't it work?

It doesn't work because the writer's at ITV are plainly clueless in the art of using an asset to its full potential. They lumber Glenister with a "rilly stoopid" American accent. Glenister is a fine actor but he ain't no Chicago street punk. And for some reason they've decided that Tapper's character should be blind - which means most of her dark, smouldering looks are directed at various inanimate objects such as vases, pillars and Ikea bookcases. What an effing waste!

But worse still is the sad, creatively bankrupt adherence to a sci-fi formula that ITV have yet to realize doesn't work: young pretty boy in the male lead and young pretty girl as his counterpart (and "will-they-won't-they" love interest). The trouble with pretty young-things (especially when they're virtually unknown) is that it is damned hard to care a gold-plated fart about them. I spent much of the show hoping they'd both get dragged down to Hell and demoned up like Pinhead from Hellraiser.

Alas it was not to be.

The entire episode felt like it was a first draft (or an idea from one of those annoyingly funny Orange cinema adverts)... It was clumsy. It was cynical. It just doesn't work.

The BBC are far more subtle in their approach to sci-fi drama. Whatever misgivings one may have about Doctor Who or Torchwood I have to admit that they're casting has been consistently good and they're not afraid to cast against type and allow actors to surprise us with their range. ITV, however, consistently play it safe and what we get is a wishy-washy, story-by-numbers, spooky horror story that is kid friendly but hopelessly mediocre if you're an adult.

And as for the demons... geez, they're not scary at all. They're grotesque, yes, but in a comical Carnivalesque sense. There's no sense of unholiness or otherworldliness about them. I like my demons to be genuinely unsettling - think Clive Barker or Aleister Crowley. Not people daubed in weird latex and plastic that appears to have been transported through time from the 1970's.

Which brings me back to Sapphire & Steel.

Was it really any good? Or have ITV always sucked at sci-fi?