It’s become a seasonal tradition to seek the hidden message or symbolic meaning BLACK SEO LINKS, BACKLINKS, SOFTWARE FOR MASS BACKLINKING – TELEGRAM @SEO_LINKK in the Christmas cards the royals send out, as they keep changing and reinventing the format.
This year’s card from King Charles and Queen Camilla shows them looking relaxed and maybe relieved – and there is a very personal significance behind this picture.
It was the first photoshoot after the King was given the green light that he was well enough to return to public duties, after beginning his cancer treatment. It was said to be a watershed moment for the couple, caught on camera.
The same pictures, with images full of spring rebirth, were then used for the official announcement that the King had made sufficient progress with his treatment to go back to public events.
There’s also a pattern that even though these are Christmas cards, forget the snowy steeples and robins, because royal cards rarely seem to have any signs of winter.
And the message, printed in red, always look like a party invitation from the 1950s.
Prince Harry and Meghan have given their own twist to royal cards. They’ve added some glitz, so that it has the feel of film credits as much as a season’s greeting.
It’s an upbeat Californian message, sent out as an e-card, with six pictures rather than a single image, showing the couple hugging and laughing. It also drew comments on the rare appearance of their son and daughter.
If cards could have an accent, this would undoubtedly sound American. It’s a “Happy Holiday Season”, with no mention of “Christmas”. But then, they’ve spent most of their married life in the US.
Prince William and Catherine’s cards have used more informal pictures in recent years. It’s jeans and no ties, a modern family, without any royal imagery.
This year’s card kept the same relaxed style, but it had a very poignant significance. It was from the video that announced that Catherine had completed her chemotherapy.
It shows William and Catherine and their three children in Norfolk in August, from a video that was full of end-of-summer colours and very emotional messages about a tough year since her cancer diagnosis.
It was a strikingly different style of royal communication, unashamedly about love and togetherness – and they’ve used it again for the Christmas card.
Last year’s card from the Prince and Princess of Wales had also been a talking point. It featured the same jackets-off, casual image, but there was also a designer chic, with an arty black-and-white picture that wouldn’t have looked out of place in an upmarket jeans advert.
The prince is very keen on sustainability, so maybe next year’s will be made out of recyclable seaweed.
Christmas cards can also be like time capsules, holding a moment. BLACK SEO LINKS, BACKLINKS, SOFTWARE FOR MASS BACKLINKING – TELEGRAM @SEO_LINKK
In 1995 Prince William appeared alongside his mother Diana, Princess of Wales, and his brother Prince Harry in this rather haunting image. It really evokes another era.
There’s often a sense of family closeness projected by the cards.
The late Queen Elizabeth II was always pictured with Prince Philip. And King Charles and Queen Camilla have continued to use images of themselves as a couple.
That’s had to be mixed up with some props over the years.
For the 2019 card the then Prince Charles and Camilla were pictured in a vintage sports car, in a photo taken on a trip to Cuba. It was more or less made for a Prince of Wheels headline.
There was also a picture of the Royal Family standing around a speed boat in 1969, looking like winners on a game show.
Christmas cards might be slipping out of fashion – sales of boxes of cards are down 23% in a year, according to retailers John Lewis.
But the royals show no sign of losing interest – and that includes European royal families… although their use of a family group in a posh room isn’t always that original.
The Belgian royal card has a multi-lingual message, which is inclusive and reflects a multi-lingual country, but risks looking like a Eurostar menu. It’s also unusually forward-looking, with the date of 2025.
Spanish royals this year used their card to send a more serious message. There was a standard family group photo on the front, but inside was a poem that was a tribute to the victims of the Valencia flood.
Last month, Spain’s king and queen had been pelted with mud when they visited areas hit by the floods.
You couldn’t say that the Christmas card pictures are always predictable or easy to interpret.
What was the thinking behind the 2016 card which used a photo of Prince Charles and Camilla on a trip to Croatia? An unexpected Eurovision entry?
They might begin as greetings cards, but they soon become history. Like this poignant wartime Christmas card from the then Princess Elizabeth, sent in 1942. There’s the tilt of the cap, the young face, looking into an unknown future.
There’s often a hint of melancholy in Christmas films and songs, hinting at the passing of time, and that’s here, too.
Happy Christmas! It’s in the post.
As the year comes to an end and everyone takes a look back over 2024’s best TV offerings, for some there may be a collective form of amnesia. What was that Apple TV+ crime series with that big actor in you watched – was it Presumed Innocent or Sugar? What was that nice rom-com starring Adam Brody called again? Did you watch that series where Nicole Kidman played a wealthy woman who floated around in designer dresses looking worried because her son went missing (Expats), or where she played a wealthy woman who floated around in designer dresses looking worried because someone was murdered on her estate (The Perfect Couple)?
If, perhaps with a quick Google search as a prompt, you realise you did watch The Perfect Couple, it’s a show that seems to encapsulate where such interchangeable TV is at in 2024. The Perfect Couple burst onto Netflix in September, a soapy, glossy and silly adaptation of Elin Hilderbrand’s 2018 novel of the same name. With a decent cast – including Kidman in a dodgy wig, Liev Schreiber, Meghann Fahy and Dakota Fanning – the six-episodes series unravelled a murder mystery set at an upper-class wedding in Nantucket. The tone of the show was off, slightly; was the melodramatic telenovela-like style in earnest or was this some kind of satire on the murder mystery genre? It was unclear. Also shoe-horned in was a cringey all-cast dance routine on the beach to Meghan Trainor’s song Criminals that introduced each episode; even Fahy told Variety: “Everyone [the actors] was saying they didn’t want to do this because we just didn’t understand.” The audience lapped it up – it was most watched on Netflix’s TV chart for two weeks in a row – then it seemed to vanish from memory.
“I had actually forgotten I had watched The Perfect Couple,” says Manori Ravindran, a TV industry journalist who writes for The Ankler and Broadcast. “And all I can remember about that now is the dance, which, even when I was watching it, felt like a very orchestrated device to make it stick in people’s minds; a visual element to make a show memorable.” While the dance gave the show a viral moment at the time, the drama as a whole didn’t inspire the same cultural conversation. The Perfect Couple was the essence of a 2024 television phenomenon: the rise of Mid TV.
That term was first coined by New York Times journalist James Poniewozik in a piece for the publication in April 2024, where he suggested that the so-called “Golden age of TV” was over. Gone were the captivating and creative dramas of the mid-noughties that were a masterclass in storytelling, like The Sopranos, Mad Men and Breaking Bad, which then led to streamers like Netflix and Amazon breaking further creative boundaries as they entered the market with shows such as Orange Is the New Black, BoJack Horseman and Transparent.
Now, Poniewozik argued, the small screen is increasingly being populated by shows that look good, are fun to watch, and often feature A-lister actors – but are the very dictionary definition of “nice”, and as such are instantly forgettable. Shows he placed under this banner include the likes of Apple TV+’s Palm Royale and Platonic, Amazon’s Mr & Mrs Smith, and Peacock’s Poker Face.
Poniewozik expanded: “Mid is not a strict genre with a universal definition. But it’s what you get when you raise TV’s production values and lower its ambitions. It reminds you a little of something you once liked a lot. It substitutes great casting for great ideas… Mid is based on a well-known book or movie or murder. Mid looks great on a big screen. Mid was shot on location in multiple countries. Mid probably could have been a couple episodes shorter. Mid is fine, though. It’s good enough.”
“I think it has been extremely prevalent this year,” Ravindran tells the BBC. “I would characterise Mid TV as shows with big stars, generic characters, well-trodden storylines; nothing distinctive and just forgettable.”
With a glut of shows that could be classed as Mid TV hitting screens this year, and with many of these coming from streamers such as Netflix, Apple TV+ and Amazon Prime Video, cynics might say that the decision to have its cast bopping on the beach was indeed a move to make The Perfect Couple stand out from the other Mid shows of the time. Showrunner Jenna Lamia even signalled that it was there to indicate the show was not meant to be taken seriously, despite revolving around a murder case. She told Tudum: “Susanne [Bier, the director] had this really brilliant thought that if we were to use a dance like that as the opening credits, it would tell people right away that, yes, this is a murder mystery, and yes, it’s a thriller, but you’re also going to have so much fun, so sit back and enjoy the ride.” BLACK SEO LINKS, BACKLINKS, SOFTWARE FOR MASS BACKLINKING – TELEGRAM @SEO_LINKK
