Meanwhile, in the episode itself, the characters drink gluhwein (or watered-down Ribena, Fulcher complains) as Klaus regales them with the local legend. That is, of course, until Klaus (Shearsmith) is pointing out a painting of ‘Krampus’, the titular Devil of Christmas, (who is, incidentally, a real demon of Bavarian folklore who punishes children on Santa’s naughty list) when the tape is suddenly paused, and we hear what appears to be a directors’ commentary.ĭirector, Dennis Fulcher (Derek Jacobi), laments a continuity error regarding the placement of the painting in a style that echoes the deliberate gaffes of Garth Marenghi’s Darkplace. (Number 9, naturally.) As they are shown around their holiday home by Klaus, the Austrian landlord, everything from the received pronunciation, wardrobe choices and wooden acting to the use of Ikegami HK 323 cameras (which would have been used in a 70s TV studio), creates so perfect a recreation of the classic teleplays of the late 70s – early 80s, it could almost pass for a genuine production of that era. Julian, his mother Celia, son Toby and new – much younger – wife Kathy are spending Christmas in a snowy alpine chalet. Our protagonists are the typical 1970s white, middle class English family so prevalent in the aforementioned shows. Whilst they were predominantly referring to the story-of-the-week nature of those programmes, these influences are taken to a much more literal extreme in their 2016 Christmas Special, The Devil of Christmas. When the dark comedy anthology series Inside Number 9 was announced back in 2013, writers Reece Shearsmith and Steve Pemberton cited Roald Dahl’s Tales of the Unexpected and Armchair Thriller among its’ influences.
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