Saturday, January 07, 2017

New Blog: Oh, the things I've seen

Hey you! It's 2017. Crazy.

Tumblr is lovely for gifs but, not so great for regular writing, so please come and join me at my new 'Oh, the things I've seen' blog at

Hopefully updated every week, it'll feature (surprise, surprise) little round-ups of TV shows, theatre, comedy, films, exhibitions... Hope you enjoy it, here's Week 1.

Friday, July 19, 2013

Come and join me on Tumblr - for good, this time.

I think, with a heavy heart, it's time to put this little blogger out to pasture. It's a nice one though, with lots of wild flowers and the odd cow. I'll be over on Tumblr from now on, with reviews, gifs, videos and even the odd short story. See you there (and on Twitter. Of course.)

Sunday, May 05, 2013

Arrested Development. Again.


When I wrote my first piece about Arrested Development, I said that my plan was to watch the final episode of S3 the day before S4 is released on Netflix. Thanks to a hiatus I did manage to stretch out my viewing rather longer than I genuinely expected (I finished up last week), but I’m now actually pretty pleased that I have time to revisit some of the early episodes before we all settle down to devour the new ones.

Reading it back, I gave a pretty luke-warm reaction to the show, and that was basically because I hadn’t quite got my head around it yet. I *saw* that there was a silly, farce-y side to it, but I didn’t really *feel* it. It all felt pretty low-key and, well, luke-warm in itself. This despite the fact that I’d already seen Tobias “blue himself”. Because that’s not silly at all.

The fact is, I wasn’t looking beyond the straight face.

Luckily, even I couldn’t fail to see an absurdist side to the show when Buster got his hand bitten off by a seal in a yellow bow-tie, or a character called Bob Loblaw was introduced. But in reality I was hooked way before that. The show, clearly, does indeed have a sense of the ridiculous, and more than that, real heart - all those things that make me really fall for a comedy.

And in fact, there’s proper joy to be had in these surreal plot-twists being sold completely straight. And when - occasionally, but increasingly in the 3rd series - they *do* metaphorically wink at the camera? Well that’s just beautiful. The little discussion about where Gob actually lives is an audience-pleasing delight - “I always pictured him in a lighthouse”.

The one element of the show I did speak rather evangelically about was Will Arnett’s portrayal as Gob - and I do still have a real soft spot for that performance. In lesser hands, the ‘dumb philanderer” character would be fun, but unremarkable. Arnett makes him a lovable, infuriating, hilarious anti-hero.

But one of the main reasons I now agree with everyone else that AD is, frankly, a bit of a masterpiece, is the reason I would happily say the same about Blackadder, Friends, Frasier, Spaced and Community: the whole ensemble cast is *exquisite*. There are no weak links. There is as much fun to be had with Maebe working as a studio exec as there is with George going slightly mad in the attic; as many laughs from Lucille getting hammered as there are from a Gob illusion going predictably wrong. I know it’s clever, and ambitious, and layered, but without these performances, all of that would count for nothing.

On one hand, it’s a real shame that it’s taken me so long to get round to watching Arrested Development - all those years of enjoying a stupendously entertaining show missed out on. On the other hand, what better time to be in the early stages of adoring a show? With brand new episodes just around the corner, there’ll be, presumably, loads of interviews and features to read, and apparently the banana stand in central London was only the start of the marketing stunts being planned.

Series 4, then. COME ON!

Sunday, February 10, 2013

Arrested Development

(Here's one of those "cross-posted from my Tumblr" updates I mentioned....)

Never knowingly ahead of the curve, I'm currently in the middle of watching the first season of Arrested Development. For the first time. I know, it's Mean Girls all over again. You'll all be envious when I'm watching the last episode of season 3 the day before it starts up again on Netflix, though. (That's genuinely the plan, but whether I can really stretch my viewing out until May is, let's face it, doubtful.)

Coming to the show completely cold - I didn't even know the premise when I started watching - I don't think AD is particularly easy to connect with in the first few episodes. I now see that that's partially intentional (I've got used to the fact that I'm going to have to find some of the gags myself) but it's in stark contrast to, say, Community which, for all its smarts, is perfectly happy to shout "love me" at the top of its voice.

My experience of watching Arrested Development has so far been a case of "come for Tobias, stay for Gob." Is that pretty much par for the course? David Cross gets the first big laughs, but ultimately Gob is just magnificent, and Will Arnett insanely watchable. Gob could easily be one-dimensional and - 99% of the time - pretty much is. Arnett's triumph is leaving that 1% that makes you believe one day Gob is going do something massively sweet and heroic and you're going to punch the air with delight. I'm only 15 episodes in, though, so you'll have to be gentle with me if it transpires I've called him completely wrong...

On one level, I love the fact that I've almost certainly missed a healthy percentage of the jokes so far, and I get that that's part of the show's charm and genius. But at the same time... I *like* it when it's overtly gaggy. Gob struggling to use his Segway on the Bluth building site? That's just funny.

I appreciate, by the way, that picking apart a decade-old show based on relatively few episodes must be an intensely annoying read for those who have been fans for since it first aired and know the whole thing inside out. Sorry you guys; I'll be all caught up soon enough (way before May, no doubt). Til then, I'll look forward to the honour of getting to know this clever, increasingly likable and occasionally absurd show a whole lot better. 

Sunday, February 03, 2013

Come and join me on Tumblr

Hello! When I started this blog, I interspersed the long reviews and ramblings with very short posts reacting excitedly to news about David Tennant or linking to a video I liked. Nowadays, it just takes too *long* to do that on Blogger, when it's simply a case of clicking 'Share' to do so on Twitter and/or Tumblr - especially when I'm on my phone rather than at a computer. Lazy, admittedly, but absolutely true.

So, I will continue to cross-post my substantial bits of writing here, but if you'd like all the fun stuff in between as well, please come and join me on Tumblr - you don't have to be signed up, or "follow" me or anything. Thanks!

Sunday, December 30, 2012

That Was The Year That Was 2012

You wouldn't know it from looking at this blog (sorry) but there has been so much cultural stuff to enjoy this year, and - precisely because I've been a bit on the rubbish side - it's probably worth rounding it up...

Kudos to producer James Lowey for putting together School Night, a lovely club night that kicked off in January with a barnstorming performance from Humphrey Ker, whose 40 minute rattle through British kings, queens and (a lot of) wars genuinely reignited my interest in history.

In Edinburgh, Tony Law and Pappy's were rightly lauded for their hilarious, thoughtful and clever shows while David O'Doherty delivered an angst-ridden hour that is probably his best ever.

If you were after sweet, witty and hugely satisfying movies this year there were three that ticked each of those lovely boxes: The Muppets (loads of laugh out loud moments even after mulitple viewings), Avengers Assemble (funny, great fights, massively entertaining), and Moonrise Kingdom (Wes Anderson with heart. Seriously).

I became a Ben Folds Five fan in 2001, which is something of a shame, seeing as they'd split up the year before. It was a long-awaited delight, then, to see them back together and having loads of fun at my favourite music venue Brixton Academy a few weeks back, along with 5000 other devotees. Thanks to a great, generous set list that included the likes of Alice Childress and Song for the Dumped alongside tracks from the new album, and an excited audience in fine voice, it was, probably, my favourite ever gig.

Elsewhere, Jack White proved himself to be the ultimate, timeless rocker at Alexandra Palace, Rufus Wainwright had an uptempo hoot at Hammersmith Apollo and Neil Hannon celebrated his 42nd birthday at the Royal Festival Hall. The whole of Promenade complete with a string quartet? Alison Moyet singing Don't Go and The Certainty of Chance? Party hats for the audience? Yes please.

I didn't get to the theatre as often as I'd have liked this year, but 2012 was bookended by two delightful productions: the charming, inventive and visually beautiful Swallows and Amazons in January, and Twelfth Night which - while not faultless - provided an always-cherished opportunity to see the masterful Mark Rylance in action.

With Grandma's House, The Thick of It, Peep Show, Horrible Histories, Fresh Meat and The Thick of It all returning, there's been some staggeringly great comedy writing on offer this year. And as for debuts, it's hard to look beyond Jenna-Louise Colman, who sparkled as souffle girl, and then out-Doctor'd the Doctor in terms of curiosity, fun and sheer love of life as Clara. The Doctor's smitten, and no wonder. A quick tip o' the hat to the producers of the first Eight out of Ten Cats to air after Jimmy Carr's taxgate too, as normal service was suspended to give time and space for a proper, sincere discussion.

Oh, and the Olympics? With that opening ceremony, and all those fab montages, and Murray winning Gold, and Chad's dad? Not bad.

Sunday, December 02, 2012

Twelfth Night - Apollo Theatre

It's been much too long since I saw a straight play, but a combination of Shakespeare and Mark Rylance was always going to tempt me back - albeit a little late, since this is a transfer of the original Globe production.

I'm hardly alone in being a fan of Mr Rylance, but that's only because he's so genuinely, uniquely, charismatically brilliant. Since watching that BBC Four live broadcast of Richard II I've loved his ability to give such an unexpected but utterly natural cadence to Shakespeare's language, and away from the Bard I've also had the pleasure of seeing him as the British Bacchus in Jerusalem, and in La Bête, with that notorious, hilarious 25 minute speech.

It's a real thrill, then, to see him as the mourning Olivia in Twelfth Night. I didn't study the play, but have seen it once before when John Lithgow played Malvolio with the Royal Shakespeare Company, and as far as I can tell, that's usually the role that gets the "big" casting. With Stephen Fry playing the pompous - but harshly treated - steward, maybe that's the case again here, but enjoyable as he is (and he really is a commanding presence), Fry is well and truly trumped here in the 'comic performance' stakes by Rylance.

Should Olivia be the big comic role in Twelfth Night? Should she be more ridiculous than Malvolio? Than her household of scheming fops and drunks, even? Maybe it wasn't Will's plan... but it sure is fun. And it's all there in the text to be exploited, with Olivia switching from pious mourner to a love-struck girl hopelessly obsessed with the cross-dressing Viola (Johnny Flynn) in an instant - Rylance, as ever, just turns it up to eleven.

Away from Rylance and Fry, there are lovely performances to be found throughout the production though. In particular, the ever-fabulous Samuel Barnett shines as Viola's long-lost brother Sebastian - making the most of a role that could easily get lost thanks to his perfection of an incredulous "what the heck is going on?" expression.

There's also a gorgeous scene during which Viola's lord Orsino (Liam Brennan) sees his "page boy" in a whole new light - Brennan's comic timing is a delight as he tries to steal a glance or two, and is surprised at what he finds, and what he feels.

Like the RSC production, this again struggled to deal with the drawn-out "reveal" of the final act when the characters finally work out what we've known all along, but it's a minor quibble buried in a production that is big on fun, and full of performances to revel in.