Tag Archives: Jamie

Jamie’s Special Festive Message…Em, About Haircuts?

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I always like to mark Christmas on this site with a nice festive message. Except instead of ‘nice’, ‘festive’ and ‘message’ imagine I said ‘hearty’, ‘fuck’ and ‘you’. Come on, you surely aren’t coming to me expecting a merry glug from the milk of human kindness, and if you are then – if I may inexplicably lapse into southern US patois for a moment – there’s masochism in them thar bones o’ yours, boy.

I’ve thought about what festive topics I could cover. I usually give Jesus a swift kick in the ghoulies this time of year, but where’s the fun in that when he’s only going to turn the other testicle? Shame, really, because I had the germs of a few good ideas (probably the wrong choice of cliché given the year we’ve just had). For instance, I was thinking about how religious scholars and priests of all stripes are like literary critics who keep reviewing the same book again and again and again. Imagine if you tried that if you were on a newspaper.

“Nice column in last week’s edition reviewing ‘The Biography of Rod Hull’. What have you got for us this week?”

“Well, I liked it so much I’ve reviewed ‘The Biography of Rod Hull’ again, to be honest.”

“But… there are hundreds of thousands of books out there. You can’t just… you can’t just review the same one again.”

“It’s just so good though. I’ll be honest, I’m just not interested in any other book, not when ‘The Biography of Rod Hull’ is so fucking good.”

That person would be sacked, wouldn’t they? On the spot. Unless their father happened to own the newspaper, in which case the editor would be forced to publish a review of ‘The Biography of Rod Hull’ every single bloody week. A few years of that and the editor would be ready to garrotte himself with a garland of tinsel.

“I think you’re going to be pleasantly surprised by the 2,647th book review I’ll be turning in today.”

“Is it ‘The Biography of Rod Hull’?”

“Yeah. Yeah it is….”

“So where’s the fucking surprise?”

“Well, I tie it in with the coronavirus, and I finish with this absolutely killer line, you’ll love it, it goes like this: ‘And, in a way… isn’t the coronavirus a little bit like Emu?’”

But I’m not going to do that one, or any of the other ideas that were swirling around inside my head. Instead, I’m going to tell you about my haircut today. And what could be more festive than that?

I always seem to go for a haircut at the same time as approximately 98 per cent of the rest of the male population. Each time that door chimes to announce my arrival into the barbers’ I utter a silent ‘fuck’ under my breath as I process the sight of twenty other guys crammed along the wall-length couch. They always look up at me, half-apologetically, half-indifferently, and then we all sit there together in uncomfortable silence, like inmates waiting to be processed.

It won’t surprise you to learn that Christmas Eve’s Eve, just prior to a recently announced national coronavirus lockdown, isn’t a great time to mosey in hoping for a quick hair-cut. I would’ve been quicker putting myself on a waiting list for a new kidney.

I see haircuts as an evil necessity. I only tend to go for one once I start looking like a hobo that’s just crawled out of a bin, and admittedly it’s hard to decide when to draw that line, given that this is arguably my base-line. I’m always amazed by the multitude of men who turn up at the barbers with only a mere dusting of hair on their bonces. Why are they bothering?

Sometimes they’re old men. In their defence, they probably don’t have all that much to occupy them from now until they cark it, so being able to knock ‘HAVE THREE HAIRS SNIPPED FROM HEAD’ off their daily to-do list must give them an enormous sense of achievement and self-worth. Most of the time, though, the culprits are young men: guys who look like they’ve only just had their hair cut yesterday. What the hell has happened to men? It used to be you’d go to the barbers, an old guy in a white coat would run an electric razor over your head exactly twice like you were a fucking sheep, and then chuck you out the door with a lollypop or a slap of aftershave. Bish bash bosh. In and out.

A single men’s haircut doesn’t cost all that much per unit, much cheaper than a woman’s haircut, but women only go to the hairdressers about four times a year; some of these fuckers must be going to get their precious, metro-sexual crowns re-styled four times a month. How can they afford it? Is there a special ‘men’s hair-cut grant’ no one has told me about that I can apply for through the Scottish government?

Guys under thirty these days all want to look like the cast of Peaky Blinders or the Only Way is Essex, or whichever coke-addled, madam-manhandling footballer happens to be the tabloid press’s pick of the month. And what’s more amazing than the fact that these quasi-bald men actually go to the barbers in the first place, is how long the barber spends on them once they’re in there. They seem to agonise over every bit of stubble, like they’re sculpting a privet hedge into the shape of a boat, or shaving Michaelangelo’s David into the back of Big Tam from the Scheme’s heid. Jesus Christ, there aren’t any scouts for Vidal Sassoon in here: just get the fuck on with it!

That’s not to denigrate the work. Hairdressing is one of those things that looks and seems simple, but really isn’t, as any unskilled parent who’s ever picked up a pair of scissors can attest. My youngest boy, Chris, needed a haircut earlier this year. His fringe was so long it was dive-bombing his eyes. OK, I thought, no need to rush for an appointment, I can buy some extra time with a few precision snips. Dear reader, I left that poor little boy looking like a Franciscan monk who’d just auditioned for a 60s boy band. He was more cartoon character than boy. It gave me a new-found respect for that brother-and-sister-hood of the blade. From now on, I’ll leave it to the professionals.

Back to the shop. Waiting in that couch-based queue always necessitates a lot of mental arithmetic and weighing up the odds. You sit there trying to put together the Da Vinci Code in your mind: “Right, three seats, ten guys, one of the hairdressers is probably going to have to go for a break half-way through, so if that next guy takes twenty minutes – actually he looks like he’ll take about forty minutes cause he’s hardly got any hair which doesn’t make any sense but there it is – and then the next guy, well, he’ll be quick, he’ll go on that seat, they’ll be finished first, which means he’ll get that hairdresser, the next guy will get that hairdresser, which means that I… right, all I really want to know is, am I going to get my hair cut by the really attractive woman, or the troll? Or the guy who’s literally got a tattoo of a pair of scissors on his face?” (Last year I really did have my haircut by a man with a tattoo of a pair of scissors on his face. He must really love his job. Lucky he never trained to be a gynaecologist) “Please, please let it be the attractive woman…”

Yes, I know I’m shallow, as are most of my fellow willy-wearers, but what can you do? There’s no sexual component to it, of course. Nobody goes to the hairdressers for kicks (unless they’re a massive pervert); it’s too weird and anti-septic an environment for that – like getting a lap-dance in a disused hospital while you’re off your tits on heroin. Truth be told, I usually end up falling asleep, or almost falling asleep. It’s relaxing to the point of being soporific. Same with a visit to the optician. My optician usually has to X-Ray me through my eyelids, and then wake me up by bashing me across the skull with a pair of heavy NHS specs. But, anyway, shallowness dictates that you would always prefer an attractive person to be cutting your hair, even if the task at hand is disconnected from any predatory or sexual impulse. It’s aesthetics, pure and simple.

The odds are usually against me on that one, though.

It’s the same on the bus. Long time since I’ve been on one, mind you, but I’m sure the dynamics remain the same. When you’ve got an empty seat next to you, you always imagine that some gorgeous starlet will sashay up the aisle, flicking her hair back and forth like something out of a Timotei advert, before sliding in next to you with a purring ‘hiiii’. But they never do. It’s always an enormous man who smells of shit and fish. Every. Single. Time.

It got to the point where I considered just surrendering to fate, putting down a piece of cardboard on any empty patch of seat next to me that said: ‘RESERVED FOR THE MAN WITH HALF HIS DINNER DOWN HIS FACE AND THE MUSTY AROMA OF A BLACK PUDDING SUPPER THAT’S BEEN SHAT OUT BY A RHINO.’

Anyway, it barely matters who I get to cut my hair, because I’m a little hard of hearing, so I can’t normally engage with them all that well. I usually find myself nodding like an imbecile, not hearing or understanding anything all that well, and hoping that I haven’t just given my seal of approval to something truly awful. Or that I haven’t accidentally just missed the hairdresser saying: “So you want me to make you look like a Peaky Blinder, huh?”

Merry Christmas everyone.

Jamie’s Outlander Binge – Season 3, Eps 11 – 13

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Part 14: Return of the Aye-eeee

Wherein some people are nuts, and some people talk to nuts, and they’re the less nutty ones

These days, it seems there aren’t any American actors in lead roles on US TV. Even the characters that are supposed to be American are played by British or Australian actors.

Before Idris Elba hit stratospheric levels of fame, he teamed up with Dominic West to fool The Wire-watching world into believing both were natives of the Baltimorean landscapes over which they battled and hustled; Hugh Laurie expertly masked his middle-Englishness to play the embittered, brilliant, ebullient and quintessentially American Gregory House MD; and two Australians, Aden Young and Adelaide Clemens, convinced absolutely as a pair of tragic, star-crossed souls from the deep-south in Showtime’s exquisite crime-and-redemption series Rectify. These actors and actresses are all exemplars of the craft of transatlantic (or transpacific) tongue twisting.

There is, however, an ever-growing roster of Brits and Antipodeans who’ve less than impressed the great American public with their efforts: Rick in The Walking Dead (especially in the first season, where he sounded like Forrest Gump’s even dippier cousin); Ewan McGregor in the third season of Fargo; Charlie Hunnam in Sons of Anarchy; and Gerard Butler in… well, in just about anything in which he isn’t supposed to be Scottish.

Except in the most heinous of cases, my untrained ears can’t seem to discriminate between good and bad attempts at the various dialects of the US. It got me wondering if people outside of the UK accept on the same unconditional terms the attempts of non-British actors to mimic our native accents. Did people in Rhode Island detect anything amiss in Dick van Dyke’s famously shite attempt at Cockney? Did the people of Florida notice that the Northern Irish accents in season 3 of Sons of Anarchy were so bad they almost constituted a war crime? And what do the people of New York, Nevada and Hawaii think of the Scottish accent issuing from the mouth of Outlander’s resident death-defying witch, Geillis Duncan?

I’ve no way of knowing. I can, however, tell you what the people of Thisguy, Scotland think of it. How can I put this? Hmmmm. Well, em… Lotte Verbeek has a good stab at the Scottish accent. The trouble is that she doesn’t stop stabbing. She stabs it again and again and again and again. Until it’s dead.

That may sound uncharitable of me, and that’s because it is, but in my defence it’s impossible not to feel a little combative considering that the character of Geillis contributes to how my kin and culture are conveyed to the world. Outlander is, after all, one of the most widely popular Celto-centric TV series of all time.

Don’t get me wrong, Verbek is a good actress, and she makes a commendable attempt at a Scottish accent considering that she hails from mainland Europe, but Geillis’s dulcet tones are so off-centre that, as a Scot, it takes me out of the performance entirely. It’s like listening to a symphony being played off-key on un-tuned instruments by a drunk orchestra.

Of dogs.

There’s one way you can judge the quality of a Scottish accent, and it’s this: the more syllables an actor adds to the one-syllable word ‘Aye’, and the longer those syllables are drawn out, the worse the attempt. Case in point: if Geillis’ ‘ayes’ were elongated any further they’d basically be the death throes of a Japanese Anime character.

Anyway, we’ll return to Geillis later in the run-down. For now, let’s kick things off with a ship-wrecked Claire, who wakes up shaken and stirred on a strange island; singular in her purpose, alone in her terror. The island Claire finds herself on is a mish-mash of Biblical tropes: it’s Eden after the fall; it’s the wilderness through which Jesus wandered for forty days and forty nights, warding off the temptations of the Devil himself. There are indeed snakes here with Claire, but they aren’t much interested in tempting or talking: just in throttling and biting.

For the first 16 minutes of Uncharted, Claire is on her own. There are no people in this strange environment, only hunger, and a landscape littered with prickly plants and biting ants. Basically, she’s Mowgli, but without the singing animals.

I’m a sucker for the Robin Crusoe narrative, especially when it’s riven with religious symbolism. I love to see snapshots of our primal past and renderings of our post-apocalyptic future: the isolation; the struggle. HBO’s The Leftovers delivered this brilliantly, twice: once, when it showed the plight of an early human female navigating a deadly, antediluvian landscape with her newborn child, all the while surrounded by threats and augurs, and again when it showed us Kevin Garvey Snr wandering the Australian outback in the third season episode Crazy Whitefella Thinking. Even the Discovery Channel’s Game-of-Thrones-But-A-Wee-Bit-True series Vikings got in on the game when Floki first discovered the empty, roaring majesty of pre-colonisation Iceland, a rugged landscape he first mistook for Valhalla.

Scott Glenn as Kevin Garvey Snr in season 3 of The Leftovers

Silence, and paucity of speech, if used sparingly, can lift and liberate a piece of television. Silence has a great transformative power; it can sharpen our senses; open our minds; direct our focus to all that’s profound and terrible at the heart of the human condition.

Outlander couldn’t get Claire to stop talking long enough to give that a try.

I know Claire’s narration is a device that creates a bridge between the book and the TV series, but in this case… to whom is she narrating? And what does her narration add in way of shade or nuance to what we can already see and intuit with our own brains and senses? Surely one of the main benefits of Claire having no-one to talk to is that we don’t have to hear her moan or state the obvious for a while. But no. We’re shoved inside her head, like it or not.

“I was hungry. That means I needed food. I needed to find some food. So what else could I do? I decided to find some food. I had to try. But it wasn’t easy. The longer I went without food, the hungrier I got, and the harder it was to find the food. And the more I missed Jamie. Ow, an ant just bit me. That was sore. Still, at least it took my mind off how hungry I was for a moment there. I really need a shit now. I wonder if I can risk wiping my arse with any of these strange leaves? Goodness, I’m hungry. Did I mention that?”

Next we meet Father Fogden, the foppish Englishman of aristocratic stock who has a close, personal relationship with a coconut we pray isn’t sexual. He’s eccentric, he’s adorable, he’s sinister (the man, that is, not the coconut): he’s a Richard Curtis character who’s been inexplicably written into The Shining; he’s the newest owner of the Caribbean Bates Motel, but instead of his mother being dead, she’s an angry fat Cuban lady, who isn’t really his mother, but his almost-mother-in-law. Imagine losing your wife and being trapped forever with your mother-in-law. No wonder he’s on the yupa.

Mamacita – the mother of Father Fogden’s lost love Ermenegilda – wastes no time in cursing Claire to Hell and back, switching it up between English and Spanish so as to inject a bit of variety into her scorn. It becomes clear why Father Fodgen is so fond of fraternising with coconuts (although the hallucinogens might have something to do with that as well). As Claire heals, Mamacita cooks for her, serving up stank with a side-plate of sass for every meal.

Thankfully, Mr Willoughby’s goat-killing proficiency alerts Claire to the presence of Jamie’s ship. Claire’s dash through the jungle to catch Jamie’s ship before it ups anchor and sails away is commendably tense. Thanks to Outlander’s historic cruelty towards its central lovers I really wasn’t expecting a happy re-union. As the action cut between Claire’s panic and Jamie’s preparations, I prepared myself for the old time-delay trick (making it look like Claire was about to catch the boat with seconds to spare, when in reality she’s missed it by a whole day) or the different-place trick (they’re in the same time-frame, but on completely different islands).

Claire is a lot of things – stubborn, haughty, sometimes dangerously myopic – but she’s no damsel in distress. She’s brave, cunning and, above all, resourceful, the latter quality proving the difference between Claire being marooned with Lord Coconut and Mama Sass for all eternity, or sailing off into the sunset with Jamie once more. All it took was a wee waggle of a mirror through a sunbeam, and Jamie was rousing the troops to rescue her.

‘MacDuhb’s wife turns up in the most unlikely of places, does she no?’ says this season’s Angus to this season’s Rupert. Outlander knows fine well that we know that they know that we know how delightfully preposterous the show can be sometimes.

Father Fogden – my very favourite Caribbean-crack-smoking, coconut-nattering nincompoop – again gets to a shine when he presides over the union of Fergus and Marsali. I love Fogden, and I sincerely hope two things: a) that he returns next season, and b) that he’s free to officiate my real-life wedding later on this year. What a unique occasion it would be. I don’t know many people who have been joined in holy matrimony by a man who’s off his tits on gin and yupa.

I laughed heartily when Father Fogden tried to marry Marsali to a different guy on account of Fergus’s missing hand, and then laughed again when, his mistake having been corrected, he shrugged and said, ‘Not as though he’s lost his cock… you haven’t, have you?’

While I saw it coming – and it was a long time coming – it was still hellishly sweet when Jamie asserted kinship over Fergus by handing him the Fraser name.

Uncharted, then, was like the Fall of Eden in reverse: beginning with a silent, lonely journey through deadly and inhospitable terrain, haunted by the specter of a serpent, and ending with two characters joined together in hope, innocence and love, but also – you know, haunted by the specter of a serpent… if you know what I mean (nudge, nudge, wink, wink).

The state of Eden is a distant memory for the poor Africans caged and enslaved in the sweltering heat of the Jamaican sun. The very best life they can hope for, at least for the next few centuries, is one serving drinks to snooty, cruel or indifferent aristocrats. It goes without saying that slavery is a repulsive practice. That human beings treated other human beings like that is disgusting, that it happened not so long ago in human history is chilling. For once, Claire’s inability to tolerate any act of injustice irrespective of the times and irregardless of the consequences is worth championing – even if it will almost certainly draw unwelcome attention to Jamie’s visibility and presence on the island.

Deliciously, though, history might think differently. In order to free a slave called Temeraire, Claire had to buy him, which means there’s a physical record of the vehemently anti-slavery, time-travelling firebrand buying a slave and therefore, on the surface of it, actually contributing to slavery.

So, Geillis then. She was never a particularly nuanced character to begin with – Lady Macbeth with a touch of murderous New Age Earth Mother – but in her latest (and last) incarnation as a blood-bathing black widow and purveyor of black magic, she’s positively ridiculous. When she isn’t chasing after the shiny MacGuffin fastened to John Grey’s coat, she’s waving her hand in the air in a dismissive manner and storming through a crowd of party-goers in her big flouncy dress to a chorus of giggles and gasps, like some cartoonishly wicked pantomime dame.

Let’s talk John Grey here. Until now we’ve seen him as a noble but dopey, love-sick little puppy, holding a candle (or indeed a sapphire) for Jamie across time and across continents. The moment where Claire works this out is incredibly sweet.

But the man also has a steely side, shown here when he delivers a rousing, stinging, brutal dressing down to the status-hungry Captain Leonard, saving Jamie’s skin into the bargain. I was almost out of my seat cheering.

Once Geillis’s three-stage-plan to immolate Ian, infiltrate the future and bump off Brianna was foiled, I half-expected her to turn to the Frasers and snarl, ‘And I would’ve gotten away with it, too, if it wasn’t for you pesky kids!’ But she was far too busy being decapitated for any of that malarkey.

Well, almost decapitated. In the books I gather Claire sees the job through with the business-end of a blunted axe, but in the TV show she only manages a partial chop. That’s not a criticism. I know how hard it is to cut a cantaloupe under ideal conditions, so kudos to TV Claire for trying. There are thin religious parallels here that are probably more explicit in the book on account of Claire’s more successful stab at decapitation.

In the Bible, John the Baptist – who as his name suggested loved a good baptism – prophesies the coming of the Messiah; a great ruler of legend for whom he is the fore-runner. A little later, he’s beheaded. In Outlander, Geillis – who performs baptisms of sorts upon herself, and always in goat’s blood – prophesies the coming of a great ruler. A little later, she’s beheaded. Did I mention the parallels were thin?

I guess it’s easy to see God-shaped shadows everywhere in a season that’s been so awash with Biblical imagery, from Jamie’s hellish print-shop fire to goats to prophecy.

Outlander is usually pretty good at making its sex scenes tell a story, but here – in their last bout of bump n’ grind before their boat is engulfed by waves; the ‘clam before the storm’, if you like – it felt gratuitous. Yes, I know I can’t grudge them some tenderness after all the many hardships they’ve just endured, but it didn’t feel like their passion was informed or fuelled by the cocktail of emotions that undoubtedly would have been swirling around in their hearts and bellies, particularly since Claire had just killed a woman. Oh, and FYI, the use of the word ‘breeks’ is never sexy. Never. In Scotland you’ll most often hear it in this sentence: ‘Whit’s wrang, have ye shat yer breeks?’

That storm was breath-takingly realised, though. It looked and felt dangerous, deadly and horrifying. I got a real sense of the dizzying, frenetic, claustrophobic terror the crew must have felt. Really made me feel on edge: the raging power of the waves, the hopelessness and helplessness, the shrill whistling of the wind, a deadly world drained of colour, and alive with life-smothering danger. Bravo. Spectacularly well done.

Oh, hi, cliched-kiss-of-life-under-the-water, we’ve been expecting you!  And then, later, on the shore, Jamie manages to bring Claire back from the brink again with his very own patented brand of CPR – a very gentle kiss on the cheek.

At least Outlander has kept its two lovers together this time, first at the eye of the storm, and then in bewildered exile, where they always seem to find themselves. Where are Fergus and Ian? What are they going to do? Is Jamie safe from the King’s men?

God Bless America.

See you soon for season four.

A few final, disjointed thoughts

  • I mentioned the TV show Rectify way back at the start of this article. Please, please watch it, I beg you. It’s haunting, raw, poetic, visceral, and agonisingly beautiful; in this scribe’s humble opinion one of the best TV series of all time (if that isn’t too blasphemous a thing to say out here in Outlander-land).
  • I could tell pretty early on that Mark Hadfield wasn’t Scottish (the actor who played Mr Campbell, Margaret the seer’s brother) but never-the-less Mark does a very good job, never letting the accent drift into the realms of parody or exaggerated stereotype. English fans: is Claire’s accent good? It sounds pretty spot on to this set of Scottish lugs, but let me know in the comments below or on Facebook.
  • The bit where Jamie has to deliver penicillin to a poisoned Claire is nicely done. His reluctance to pierce Claire’s skin with the needle coupled with his baffled astonishment at the whole realm of modern medicine I’m sure made the Outlander-watching world erupt in a sonic-boom of ‘Awwwwws’.
  • On the subject of Geillis: if I can just let my carnality shine through for a moment, I found it particularly pleasant when she rose naked from her pool dripping with blood like some sexy mash-up of Hellraiser 2 and Cleopatra. I wasn’t a big fan of her feet, though. Not a foot man in general, I’m afraid. The moment Geillis started stretching and rubbing those veiny numbers in Ian’s face, allegedly in a bid to seduce him, I began hurling pairs of socks at the TV screen.
  • “Your nipples staring me in the eye, the size of cherries…” Em, smooth line there, Jamie. You should somehow try to work the word ‘breeks’ into there. It’s a good job you’re handsome, son, because your patter is awful.
  • I keep forgetting about Jamie’s disfigurement at the hands of the horrible Black Jack. Every time Jamie and Claire bonk it must cost the make-up department a small fortune. “Hey, we’ve got a big sea-battle coming up… maybe Jamie could keep his dressing gown on for this fuck?”
  • “Where did you find him? I must know, is he genuine?” – the look on Mr Willoughby’s face here was charming and funny.
  • I liked the closed circle of discovering that Claire had already investigated the murder she’d just committed.
  • Margaret tells Mr Willoughby: ‘You’re a rare soul’, which makes him smile. Be careful though, Wlloughby. You’re still not adept at decoding the Scottish accent. She might have just called you ‘an airsehole’.I hope Willoughby and Margaret are very happy together. In years to come I’m sure they’ll delight in telling their kids all about that time Daddy murdered their uncle.
  • I’m not sure about WIlloughby’s or Margaret’s arcs. Seems like it was all a bit too convenient. Ultimately, I don’t think either of them, separately or together, were handled particularly well.
  • When Margaret goes into full prophecy mode, I always burst out laughing.

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READ THE REST – Click below

Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

Jamie’s Outlander Binge – Season 3, Eps 8 – 10

30 Things You Didn’t Know About Scotland

The Tail of the Christmas Canine

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A very lovely lady at work gave me a her-dog-themed Christmas card, which was sweet and thoughtful. Here it is:

merryxmas

Isn’t it nice? Isn’t the wee dog really cute?

This is how I repaid her:

dog

If any of you out there with too much time on your hands are up for creating pictures that whisk this adorable little quadruped into other places in time and space, then whip them up and drop me an email with the blighters attached. Let’s make Brody the most famous dog in the universe after Lassie, the Littlest Hobo and Hitler’s dog.

I’ll collate the pictures and we’ll give them their own hashtag on Twitter or something, because that’s modern as fuck and I’ve very much got my finger on the pulse of the zeitgeist, whatever that is.

(I already know I won’t receive a single picture of this fucking dog, not even a shit one where he’s at the pyramids, but please let me have my little deluded Yule-fuelled moment. I’m crying now. But my tears are for the dog. He could’ve been somebody. He could’ve been a contender. Goodbye.)

theotherjamie@hotmail.co.uk