And so we reach the apex, the embodiment of Christmas hitmaking at a time when TOTP was at its height or thereabouts. Because it kept coming back Slade actually got to do this on two seperate Christmas shows, going walkabout the following year, but I've picked out the first because it demonstrates something about the show's technical limitations and those of its production ideas. There's a reason why you don't have a stage invasion at the start of a song, not least on television as the weight of numbers means we even manage to lose a tall man in a big mirrored hat in the crowd, and while the little cheer at 1:53 is a clue that something's happened by the time the director finds Noddy again something both savoury (if it's whipped cream) and unsavoury seems to have happened out of shot, which defeats its purpose. Still, worth missing Nod's big moment to admire the movement of that crane camera at length. Someone kisses Noddy at the end too despite having seen the state of him.