Tag Archives: Netflix

Stranger Things S4: Praise and Predictions

Posted on by

The length of TV episodes used to be dictated by the strictures of schedulers and advertisers. Netflix and its streaming stable-mates have made these curbs unnecessary, though budgets, production costs and the attention span of the average viewer has kept the length of most dramatic series sitting somewhere between 45 and 60 minutes. That’s probably the sweet-spot, the boundary beyond which you start to bore your audience or reveal your short-comings. Or both, as happened when Kurt Sutter was given free reign with Sons of Anarchy. Not that the show was exactly Shakespeare to begin with. Season four of Stranger Things, however, takes this rule and wipes its hive-minded bum with it. Even at an average length of 90 minutes the episodes still don’t feel long enough, simply because every aspect of the production, from the writing to the acting to the design to the creature effects, is par excellence.

Stranger Things is both a tribute to and a subversion of the sorts of slick, high-concept, high-spectacle, Spielbergian melodramas that wowed cinema-goers in the 1980s. It treads the line perfectly between verisimilitude of setting, and nostalgia safariing, choosing to warmly bathe rather than drown its audience in tropes and pop-culture references. The show’s characters are distinct, rich, well-drawn and entertaining, comprising a symbiotic ensemble that contains few dud pairings or groupings. The show is fast when it needs to be, slow when it needs to be. It seamlessly blends action, adventure, heart, horror, and comedy; tears with laughter. Not many series can run the tone gamut from ET to Nightmare on Elm Street and make it work, but Stranger Things doesn’t just make it work: it makes it look easy. And that’s before we even talk about the perfect pacing; the skilful use of tension; or the way an episode’s separate stories dovetail and interlock in the most satisfying of ways.

Upside down, show you send me…

With the concluding four hours of its fourth season just days from dropping on Netflix, Stranger Things is enjoying the sort of blanket coverage, critical acclaim and mass appeal that once propelled Game of Thrones to its unassailed status (give or take an eighth season) at the top of the pop-culture totem pole. Everyone is talking about the show, even if they’re just asking people to stop talking about the show so much. People are probably going to start calling their kids Nancy, Elle and Jane; Dustin, Lucas and Mike; and possibly even Vecna, and Demi-Gordon. ‘Who or what is Vecna?’, Season 4’s central mystery – more visceral and compelling than the unsolved shootings of any number of prominent Texan oil tycoons – has already been solved, and the relieving news is that Stranger Things avoided becoming another Lost with aplomb. The Massacre at Hawkins Lab not only neatly closes the season’s narrative circle – clearing the decks for the finale’s inevitable confrontation between One and Eleven – but answers questions about the origins of Hawkins’ inter-dimensional trouble we never even knew we wanted to ask. It all makes sense, at least in terms of the rules of its own fictional world. Mercifully, nobody in Stranger Things is doing the equivalent of causing plane crashes above hidden tropical islands to help protect a magic plug-hole from a smoke monster.

On the contrary, Stranger Things‘ writers know exactly what they’re doing, even if our current destination was never the original plan. They’re smart on a smaller scale, too. They know the building blocks they’re working with – the tropes and archetypes – and they’re deft at reassembling them on the hoof to keep things fresh and surprising. And they know that we, the audience, know the building blocks they’re working with, too. Consequently, and cleverly, then, they take great joy in subverting that awareness. Case in point is this season’s mile-high battle between Joyce, Murray and Yuri on a plane somewhere above eastern Russia. All signs point to the disappointing yet strangely comforting realisation that Murray’s martial-art prowess will ultimately only prove effective against child opponents. We fully expect Joyce to emerge from off-camera and incapacitate Yuri herself. However, at the last moment, Murray demonstrates his innate bad-assery, even if his bad-ass-ed-ness is more in spirit than in deed, and more through luck and enthusiasm than skill.

The episode Dear Billy, featuring Max’s near-death at the hands of Vecna, was executed particularly skilfully. Those familiar with the language of television would have been instantly pessimistic about Max’s survival chances on the basis alone that Sadie Sink – whose character Max was an important though hitherto peripheral main character – was getting a meaty chunk of the spotlight to herself, along with more challenging and emotional scenes than she’d ever been given before. That’s often a sign that the writers are giving a character a long goodbye; a last victory lap before forced retirement. It’s such an ingrained trope that I found myself genuinely unsure if Max was going to make it out of the episode alive, and almost rose from the couch and on to my feet in step with the climbing tension.

Kudos, also, for making the Demogorgon scary again. The story-line that follows Enzo and Hopper on monster death-row is part Alien 3, part Prison Break, and all thrilling.

Endgame and beyond

Now that Vecna’s identity and modus operandi have been revealed there’s no direction left for the narrative to travel except straight to the final confrontation between good and evil; it won’t follow a straight line, of course, because there are still dangling plot threads by the dozen, not least of which are the US Military’s El-shaped endgame; Nancy’s mental imprisonment by Vecna; Mike’s mission to find El; Hopper and Co’s escape from Russia; and the murderous intentions of Hawkins’ townsfolk, who have been whipped into satanic panic by jock-cum-avenging-angel Jason Carver.

Still, with no surprises of Vecna’s magnitude left to uncover (though I could be sorely wrong about that) the only truly surprising thing left is to kill off a main character. We’ve been teased with this many times before, through the hanging fates of Will, El, Hopper and, most recently, Max. However, the more times a show teases a major death without following through, the less effective that narrative trick becomes. Keep doing it and you risk alienating your audience, and, worse, making them feel cheated (accusations that were thrown at The Walking Dead during its Dumpster-Gate moment). I truly believe that someone big is about to go six-feet upside down. But which characters are Stranger Things most likely to sacrifice?

Let’s take the long way round. It seems almost certain – to this writer, in any case – that the fifth and final season will take place in Hawkins: the place where it all began, featuring all of the characters we’ve come to know and love, each with an axe to grind. There’s a neatness to that; a feeling of having come full circle. For that to be the case then Joyce, El, Will and Jonathan will have to leave California (possibly – nay, hopefully – with Argylle in tow). Now, sure, if Joyce and Hopper were to hook up – supposing they survive Russia – Joyce might consider returning to Hawkins with her clan to be with Hopper, but she might just as easily decide to convince Hopper to leave behind the Hawkins house of horrors and join them all in the sunshine. So something has to give. I doubt they’d kill Hopper at this point, not so soon after his first ‘death’ and ‘resurrection’. I do, however, think that Joyce is a possible candidate for erasure. Her death would not only force the California gang back home, but also transform Hopper into a molten copper with the safeties off; The Punisher with a supernatural twist. And that would be a sight to behold, grief and sadness notwithstanding.

But even as I write that, I talk myself out of it. Joyce has been through a hell of a time. She suffered the trauma of a missing child, had to help that same child rid himself of inter-dimensional possession, watched her romantic partner die, watched Hopper ‘die’. It would seem rather cruel to cap off her arc with a sad and tragic death. Doesn’t mean they won’t. But, as happened with Dear Billy, the show’s got me racked with doubt. The only certainty, to my mind, is that Hopper will live long enough to overcome his past trauma, and prove his love and parenting credentials through saving El – and I don’t foresee that happening this season.

Something terrible was always going to happen to El. She won’t die, but, by god, she’ll suffer. The particularities of this suffering are legion, but here’s a handful of potential scenarios: El defeats Vecna (possibly by drawing on the inside help of the ‘souls’ Vecna has already absorbed, like happened to Freddy Krueger on Elm Street, and Peter Kay on Doctor Who) but gets trapped in the upside down. El defeats Vecna but takes his place, and gets trapped in the upside down. El defeats Vecna but the force with which they do battle tears a hole in the interdimensional fabric between universes, and the upside down bleeds into and merges with the real world, possibly just affecting Hawkins, but potentially the entire world. I guarantee that whatever happens, Hopper will enter Hell for El in season 5, whether that hell is in another dimension, or here on earth. Which it just might be. Probably the most likely scenario is that the US military, who have been tracking El all season, leaving murder and torture in their wake, will snatch El at the finale, and spend season 5 trying to use her as a weapon. Maybe they’ll combine that with the bleeding of universes. Maybe we’ll see the return of the Mindflayer, but this time it’s the size of Wales.

Dead-pool 2

You can lay easy bets on which part of El’s wounded psyche Vecna is going to try to use to break her (literally and figuratively): her guilt both at releasing Vecna from his powers, and at opening the first portal to the upside down, and all the deaths that flowed from those two events. Maybe to counter this attack El will try to harness her powers from a memory that makes her sad and angry, like the death of Hopper, only to have her burgeoning powers slapped down to nothing once it’s revealed that Hopper is still alive. Maybe the memory that gives El the power to perform a killing strike will be the recent death of Mike? The gangly Ghostbuster is surely in the top tier running for early check-out. The continuation of Mike’s time in the show wouldn’t add a great deal to its overall worth, but his death certainly would. Then it would be El who turned avenging angel. Equally, though, it might make her do a Scarlet Witch and become next season’s big bad.

The smartest money in the great Stranger Things‘ dead-pool, however, is on Steve. He’s a great character, but he’s literally got nowhere left to grow (sic). Yes, there are hints at a rekindling of the romance between Steve and Nancy, and while that story-line certainly has potential, whether Jonathan lived to see it happen or not (because he’s got to be on the chopping block, too), I think the most likely – and possibly powerful and affecting – scenario is that Steve will somehow sacrifice himself to save Nancy. He’ll go out in a way that would have surprised his younger self, and everyone who knew him: a brave and selfless hero.

I hereby announce that Murray, Dustin, Eddie, Argylle and Erica have been awarded indestructible plot armour. They now occupy the same exalted status as Carol and Daryl in season 4 of The Walking Dead. Nobody better muss so much as a hair on their heads. We’re not playing here.

In summary, then, I don’t have a bloody clue what’s going to happen next. But it’s fun gazing into the portal the first volume left in its wake, and wondering just what the hell’s going in there, because the suspense is killing you.

The clock is ticking.

Jamie on the Box – Tuca & Bertie

Posted on by

TV Review: Tuca & Bertie

Two barmy birds land on Netflix and make a virtue out of perseverance

Tuca & Bertie: from the people who brought you Bojack Horseman.

That’s how easy it was for the show to snag me. Cards on the table. If a new show was to come along carrying the tagline: ‘From the people who brought you Bojack Horseman comes back-to-back clips of old ladies receiving painful enemas on rusted gurneys round the back of the supermarket’, I’d be on my couch with a bucket of popcorn ready before you could say, ‘I think we’ve reached something of a cultural nadir.’

Tuca & Bertie is helmed by Bojack Horseman alumni Lisa Hanawalt, who helped develop that show’s trademark look. While T&B shares an aesthetic flair and a penchant for anthropomorphised creatures with its cartoon cousin, the two series couldn’t be more seismically different.

Bojack – eclipse black

Bojack Horseman is a deliciously dark study of existential angst, addiction and depression filtered through the id and ego of a washed-up, middle-aged actor on the cusp of his last chance in life, love and Hollywoo (sic). Tuca & Bertie, on the other hand, is a bouncy, breezy, larger-than-life look at the zany exploits of two female friends as they try to ‘level-up’ into their thirties without losing themselves, or each other.

The two friends are mirror opposites: Tuca (Tiffany Haddish) is an extroverted, fleet-footed toucan who’s taking her first tentative steps towards sobriety and self-reliance; Bertie (Ali Wong) is an introverted career chick (a songbird if you want to get literal about it) who’s just started cohabiting with her drippy but dutiful boyfriend, Speckles (Ex-Walking Dead favourite Steven Yeun).

If Bojack is storm-cloud black, then Tuca and Bertie – in style and execution, if nothing else – is a magical rainbow swirling inside a nuclear-powered kaleidoscope.

I disliked Tuca & Bertie’s first clutch of episodes, feeling meaner towards it precisely because I expected to love it so much. Maybe ‘disliked’ is too strong a word. It’s perhaps more accurate to say I was confounded, puzzled and nonplussed. I scouted online for reviews, and could find only frothy-mouthed outpourings of acclaim, which made me dislike the show all the more.

Was I the lone voice of dissent? What was I missing here? Was there something wrong with Tuca & Bertie, or with me?

While I loved the show’s arresting, vivid, and inventive visuals, I felt that the characters were broadly drawn to the point of caricature, and largely unlikeable to boot. The narrative was wispy and meandering, more dawdling behind the action than driving it; and the themes seemed fluffy and inconsequential. The absurd elements and sight gags, which should have been the show’s greatest asset, felt over-laboured. There was nothing of substance to orient the madness. It felt like going on a blind date and discovering that your partner is one of those people who describes themselves as being ‘certifiably mental’ or ‘totally up for the banter’.

But by far Tuca &Bertie’s biggest sin was that after four episodes the show had barely teased a titter out of me. Sure, I sniggered once or twice, especially at the unexpected introduction of some rather unorthodox sex bugs, but for the most part I sat grinning at the TV like an agitated gibbon, trying to trick my brain into making my mouth laugh. Was I over-thinking it? Was I not giving it a chance? Was I condemning it for not being Bojack? Was there an element of subconscious chauvinism afoot? Was it possible that Tuca & Bertie’s funny message was being broadcast at too high a frequency for my despicably male ears to hear?

As quickly as that last thought tapped a toe into my brain, my mind snagged it with the teeth of a hungry coyote and shook it until it was dead. Firstly, one team of women isn’t going to be representative of all women, everywhere, in any case. Secondly, I’m a veteran of The Golden Girls, one of the funniest sitcoms ever made; I’m Team Roseanne (the character, not the increasingly loopy lady who brought her to life); I’d happily watch and re-watch a movie called ‘Carrie Coon Cooks Prunes in Pantaloons’ over the output of most male stars; I have a fierce love for Captain Janeway; I think Happy Valley – created by, written and starring women – is one of the most compelling, uncompromising, and rich crime series ever produced; and I regularly read and rave about the works of great female novelists (or just novelists, as I prefer to call them).

I’m conscious that all this is starting to smack a little of the old ‘all of my best friends are black’ defence, and my list is quite possibly patronising and self-consciously right-on to the point of pukiness, but I’m simply trying to call attention to the fact that while men and women are physiologically and psychologically different, and subject to a host of different stresses, triggers and dangers throughout their lives, we aren’t so different that our inner worlds are closed off to each other.

Men and women aren’t really from Mars and Venus. Just because something’s about women, or by women, doesn’t necessarily mean that it’s ‘for’ women (or at least not only for women), and vice versa.

To rule out the patriarchal angle once and for all, I asked my partner to watch episode five with me: the episode where Tuca and Speckles (Bertie’s wishy-washy architect boyfriend) go on a road-trip to visit Tuca’s boozy, caustic and unspeakably rich aunty. I wanted to get some female perspective, see if there were things I might have been missing because I wasn’t aware I was supposed to be looking for them.

We sat stony-faced and silent for most of the episode’s twenty-six minute run-time, swapping and sharing the odd strained smile or apologetic grimace. Afterwards my partner said that although she wasn’t a big fan of Bojack Horseman, if she ever happened to catch a stray episode with me she at least ‘got’ the show. She could see what other people saw in it, and why they liked it. Tuca & Bertie, though, was a different kettle of ornithoids entirely. ‘What is it supposed to be doing or saying?’ she asked. ‘The whole time, I just wanted it to be over.’

I went back to trawling the net. There had to be others out there who shared my feelings. Not rabid incels or trolls who rebelled at the mere suggestion of a possible male hegemony, but normal – well, comparatively normal – people like me. I found a review of the show by critic Alan Sepinwall, the Head Ed for TV over at Rolling Stone magazine. He, too, had struggled with the first few episodes, but felt that the show deepened as it progressed, becoming steadily richer, funnier and more coherent, striking a rich nexus of quality about four or five episodes in. By this stage I was already five episodes in, and whatever Alan Sepinwall had found in Tuca & Bertie still eluded me, but I was now more hopeful than ever of finding it – whatever ‘it’ was.

‘OH YEAH!’, I hear the more ideologically trenchant among you roar. ‘Long live the brotherhood, is that it, Jamie, you SCUM BAG? You were prepared to keep hating it right up until the point another MAN came along and said that it was good, so it MUST be good, right, because a fucking MAN said so?!! PIG! YOU PIG! YOU PENIS-POSSESSING, MANSPLAINING, MUCK-SPREADING, PATRIARCHAL PIG!’

Please lower your pitchforks, folks. I know how this looks, but I can assure you that my reverence for Alan Sepinwall has nothing at all to do with his penis, an item which I can only assume he possesses. I’ve followed his career ever since his humble beginnings recapping (among other shows) The Sopranos for the Newark Star Ledger, the very same newspaper that Tony Soprano liked to read in the show. I followed him from HitFix to Uproxx to Rolling Stone, picking up most of his books along the way (I even reviewed his latest, The Sopranos Sessions, for Den of Geek, which you can read HERE). I utterly respect Alan Sepinwall, and usually agree wholeheartedly with his reviews and recommendations.

As I finished episode six, though, I started to suspect that our tastes might have reached their first point of opposition and impasse. Tuca & Bertie still hadn’t clicked for me, and it had a scant four episodes to leave its mark. I’d never give up on a show mid-way through a season, but season finales are handy check-points at which to decide whether to push on or switch off. I figured I’d be switching off. Surely it was too late in the game for a last minute save from the plucky, flocky ladies, and their world of sentient trees and building with great big pairs of tits bouncing from them?

Turns out it wasn’t.

My revelation came later than Alan Sepinwall’s, hitting me somewhere around episode seven or eight. It was around then I started to feel that the show was going somewhere, and saying something.

Tuca started to seem less like an obnoxious, sassy, single-friend composite and more like a rounded, damaged person whose denial-scented psychopathology sprayed out of her whenever she was confronted with pain or truth – the sort of person who, say, goes to a mindfulness retreat and accidentally turns it into a murderous cult. True story.

Bertie began to feel less like a 2D, Diet Monica-from-Friends and more like a living, breathing, relatable mix of conflicting wants, duties and desires. As the season drew to a close, everything started falling into place. The stakes became real, and finally there was something solid to counterbalance the crazy and the zany, which only served to make the crazier and zanier elements seem crazier and zanier, and funnier – much, much funnier – too.

I watched Tuca and Bertie mesh and unmesh, attract and repel, laugh and cry, rant and rage, love and hate, playing out the complex and familiar dance of female friendship in a winsome, winning and truthful way. There were fears. Secrets. Some key #metoo moments were handled sensitively, powerfully and, most importantly, with humour. Was this a different show I was watching?

The laughs were coming thick and fast, too. Not just titters or gently expelled puffs of nasal air, but real, booming, take-you-by-surprise, do-I-really-laugh-like-that laughs. A scene in the hospital between Tuca and a rather frantic medical appliance had me losing my shit quite considerably.

I fell in love with the way the show adds fresh dimensions of humour and tension to the humdrum and the ordinary through its hyper-inventive visual style: text-messages walking to their recipients; characters tussling with themselves inside their own brains, or suddenly becoming live-action puppets; and frenzied NOOOOOOOs growing animate and hurtling their way across town, with characters sometimes hitching a ride on them.

Tuca & Bertie will be back for a second season next year. I didn’t expect to say this way back at the mid-point, but, do you know what? I’m really looking forward to it.

The birds have nested. Now it’s time to watch them hatch.

Jamie on the Box – Santa Clarita Diet

Posted on by

TV Review: Santa Clarita Diet 

Netflix’s popular zomcom is back for its third season, and it’s bloody good

Years ago I worked with a lady in her early sixties, who told me that the secret to her long, stable and happy marriage had been variety, pacing and always having something to look forward to. She and her husband courted, they married, they got a house, they had kids, they moved, they grew, they became grandparents – the beats of their lives perfectly timed and arranged to minimise monotony and banish boredom whenever it threatened to rear its head.

Variety, pacing, something to look forward to. See? The secret to a successful marriage.

It’s also the secret to a successful TV show. The best ones keep moving – quickly, powerfully and with purpose – forking off at just the right times and in just the right directions to keep the journey rolling forwards and the scenery fresh. In gourmet terms: giving you just enough to fill your belly, but never enough to make you sick.

Two recent shows that have been exemplars of this pattern are the super-slick, high-concept comedies The Good Place, and Santa Clarita Diet. The former is due a welcome return later this year, while the latter dropped its third season on Netflix at the end of March: even zanier, funnier, and gorier than ever before. This time around there’s also a surprising amount of heart to proceedings, and I don’t just mean the kind that’s ripped from a victim’s chest and snacked upon by the ravenous undead.

The aftermath of Officer Anne’s desert-based pledge to serve as Sheila’s disciple (season two’s cliff-hanger) is dealt with in typical fast and funny fashion, paving the way for this season’s trio of real and credible dangers: the FBI, sniffing around Eric and Abby’s explosive political statement; the Knights of Serbia, an ancient order dedicated to the eradication of the undead, in town to ply their post-fatal trade; and Dobrivoje Poplovic, the Serbian colonel who wants to capture Santa Clarita’s ‘zombies’ and subject them to a fate worse than… well, undeath.

As always, Santa Clarita Diet deals zippily with its many perils and conundrums, putting them front-and-centre just long enough to wring the maximum amount of interesting and hilarious moments from them, but always wrapping them up and burning them off before they threaten to become humdrum.

This season’s enduring philosophical and ethical question centres on the morality of immortality, specifically if it’s ever right to pass zombiehood on to another person, even with their consent. As the season unfolds it’s clearer than ever before that the power of life over – and life after – death is a heavy burden to bear, for biter, bitten and bystanders all.

Good old Gary

Jonathan Slavin is brilliant as former mental-patient Ron – a maniacal, bug-eyed cross between Peter Capaldi and the Dean from Community – who dupes literal talking-head Gary into biting him, before going out proselytising in the name of zombiehood. Despite Joel and Sheila’s very active opposition to Ron’s reckless behaviour, Sheila has a crisis of conscience when she meets Jean, a prickly old lady with a terminal illness. Jean’s prickly because she won’t live long enough to see her first grandchild born. To bite or not to bite. That is the question… the question that Joel and Sheila have very different answers to.

And Joel finds himself under increasing pressure to join the ranks of the undead, so he and Sheila won’t find themselves separated by his inevitable natural death. Will they or won’t they renew their wedding vows to read ‘Til undeath do us part’?

Incidentally, having loved and admired Timothy Oliphant as seasoned tough guys in both Deadwood and Justified, it’s a joy to see how good he is at comedy. He’s pretty much done a reverse Brian Cranston.

One of the many brilliant things about Santa Clarita Diet is how the big questions about and dangers to Joel and Sheila’s marriage are dealt with as if they were the sort of minor irritations more typically encountered on tea-time soap operas. In Santa Clarita, as in real life, we absorb the horrors of our lives and shrink and tame them until they seem as ordinary to us as Uncle Frank farting at the Christmas dinner table. The very funny juxtaposition between the absolute, blood-splattering insanity of the undead life-style and Joel and Sheila’s sanitised, almost cliched existence in middle-class suburbia is made funnier still by the couple’s tendency to react to the misfortunes and people around them with the forced jollility and fixed smiles of a cutesy couple in a 1950s sitcom.

Laughs, gore, fun, shocks, head, heart, soul: Santa Clarita Diet’s third season has got the lot. Not to mention a healthy, hefty dollop of empowerment.

While representation in media is important, the recent glut of male-to-female character transformations on the big and little screens has felt less like a cultural revolution and more like an effort on the part of media financiers to adjust to the shifting demographics of cinema attendance and merchandise spending. In short, they’re going where the money is. And all the while radical feminists, right-on lefties, chauvinist assholes and slobbering incels battle each other beneath market capitalism’s steely glare…

Santa Clarita Diet proves that you can approach the whole subject of gender and representation without being gimmicky; without even making it obvious that’s what you’re doing. It’s quietly subversive; a highly polished, very funny, wildly entertaining show that just happens to have strong female characters at its helm. And not strong in a ‘look, I can bench-press a body-builder, and I know 6 kinds of karate’ sort of a way, but strong in a ‘we’re regular women surviving and keeping our family afloat in these unique and highly dangerous circumstances, and sometimes we fuck it up’ sort of a way.

Sheila and her daughter are the lynch-pins of the show: strong, flawed, fierce, funny, likeable women who drive the action forwards through a combination of their tenaciousness, kindness, curiosity, compassion, intelligence, impulsivity and thirst for activism. In contrast the men – while also very likeable, and occasionally heroic in their own bumbling way – are neurotic, over-cautious, angst-filled, and frantic. Joel and Eric evoke the Jay Pritchett and Phil Dunphy dynamic, except both of them are Phil Dunphy.

Toxic masculinity – whether it’s located in lecherous lotharios, serial abusers or actual Nazis – is always punished, and always fatally. It doesn’t get much more right-on than a recently empowered woman literally devouring the very worst the patriarchy has to offer. I look forward with great relish to see how the squeamish and squirrelly Joel reacts to joining the ranks of the post-living.

Here’s to the variety and exquisite pacing of season four. To Joel becoming Sheila’s newest pupil, to Abby embarking upon a fledgling romance with Eric whilst rising through the ranks of an ancient order of zombie-killers, to Sheila’s new ass-kicking team of an old lady, a camp coward and a reformed zombie killer.

Definitely something to look forward to.

Jamie On the Box – After Life, The Walking Dead

Posted on by

TV Review: After Life and after death

Ricky Gervais’ new show on Netflix, and the season nine finale of The Walking Dead

You can trace a loose autobiographical line through most of Ricky Gervais’ TV characters, from the cauldron of arrogance, delusion and fragility bubbling away inside of David Brent, to the sudden success and equally-sudden disillusionment of Andy Millman, right through to the pain, bitterness, contempt and disdain of Tony, the main protagonist of Gervais’s new Netflix series After Life.

Tony used to be a fun-loving man. He was content to coast through his small-town life as a journalist on a bargain-bin newspaper, because he was lucky enough to be married to his best friend, Lisa, a woman who made his life feel complete and worth living. Since her untimely death, Tony’s lost all sense of purpose, and now the only thing stopping him from killing himself is the existence of his pet dog. He’s miserable and angry, and doesn’t just want the rest of the world to know it; he wants the rest of the world to feel it, too: his co-workers, his boss (who’s also his brother-in-law), his postman, the local sex-worker, the local heroin addict, his own father. All of them.

He doesn’t care whether he lives or dies any more, which makes him unpredictable, unpalatable and pretty much untouchable. He’s free to take up heroin, threaten school-children, tackle criminals and tell people openly and unabashedly exactly how he feels about them. Don’t worry, though. Like all of Gervais’s characters, there’s just enough humanity lingering in Tony to guarantee his eventual redemption – though I wouldn’t characterise it as deserved. His grief takes him to some pretty dark places, most worryingly to a suicide by proxy that lightly skirts the fringes of premeditated murder.

After Life, then, is something of a tonal mishmash. It’s A Wonderful Life meets Groundhog Day by way of Trainspotting. The comedy possesses elements of both the farcical, rage-filled wish-fulfillment of Curb Your Enthusiasm and the grotesque absurdities of The League of Gentlemen, with generous portions of Gervais’s own time-tested, world-weary shtick leveled into the mix.

Some of the situations are so cartoonish and the characters within them so buffoonish and broadly drawn that they seem painfully incongruous when set against the many scenes of real grief, sadness, depression and anger. Paul Kaye’s rubbish therapist and Diane Morgan’s dippy office worker (or Kath Pilkington, as I call her) in particular, while very funny characters, don’t feel ‘real’ enough to exist inside a show so pregnant with death, pathos, suicide and sorrow. Many of the characters seem like their only function is to be totems and stress balls dotted along the trail of Tony’s spiritual journey to redemption, a journey that culminates in a sickly-sweet ending that’s somehow just the wrong side of twee.

But do you know what? It works. It shouldn’t – and it sometimes threatens not to – but it holds together, much greater than the sum of its parts. It made me laugh – boy did it make me laugh – and it made me feel real, unbridled emotion, many, many times. While it’s true that Gervais populates Tony’s world with a legion of convenient idiots, Gervais is at his funniest when he’s tearing the world a new one, and meeting insanity with molten sarcasm – so who cares? His antics at the school gate, or in the cafe ordering a children’s meal, or trading caustic barbs with his workmates had me laughing so hard I could hardly breathe. On a few occasions I almost laughed and cried at the same time, especially when Tony visited his dear, demented dad at the nursing home to tell him he loved him.

Gervais doesn’t always exhibit tremendous range as an actor [I should clarify: as a comic actor, he’s terrific], but he’s surrounded himself with great talent here, exceptional actors who add range and depth to the show, and bring out the best in him. David Bradley does so much with so little as Tony’s dad; Penelope Wilton is exceptional as Anne, the widow with whom Tony strikes up a warm relationship through their regular trips to the cemetery; and Ashley Jensen brings grit and humanity to her all-too-brief role as the hard-working nurse who looks after Tony’s dad.

I don’t know what Gervais has in store for season two – now confirmed – but I’m looking forward to it. There’s definitely life after After Life.

Now we move from the dead, to the undead. The characters of AMC’s zombie juggernaut The Walking Dead spent the season nine finale walking through a winter wonderland, but instead of sleigh bells and snowmen, the emphasis was very much on hypothermia and zombies poking out of the snow to eat them. Most seasons of the show have ended with either a jaw-dropping cliff-hanger or some form of ultra-violent wrap-up, so it was a refreshing change for The Walking Dead to drop pace and close out with a quieter, more thoughtful coda. Since the big shock had already dropped in the penultimate episode (“Don’t tell him, Pike!”) there was time and room for mournfulness and soulfulness.

‘The Storm’, despite pitting our survivors against nature itself across a wide and deadly canvas, contained – amid the howling horror – a lot of strong character moments: Michonne made some tough calls, the freeze between the King and Queen kept deepening, Negan continued his evolution from deadly to cuddly, and a simple snow-ball fight made us feel all warm and fuzzy inside.

Aesthetically, ‘The Storm’ is radically different from anything the show’s attempted before; and it’s haunting, beautiful and horrifying in equal measure. Very apt, too. You can almost hear the words of Robert Frost’s snowy, death-tinged poem scoring the group’s slog through the unforgiving wilderness:

‘The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.’

With the exception of a messy stutter-step to accommodate Rick Grimes’ exit, The Walking Dead has been back on track this season, recapturing the ever-spiking, uneven hit-rate of its hey-day (which goes a little like this: two great episodes, two good episodes, three mediocre episodes and one awful episode, repeat, and not necessarily in that order).

While the show is still stitched through with that same wobbly mix of logic-defying decisions and plot-before-character (sometimes even cool-thing-happening-before-plot-AND-character), it’s managed to claw its way back out of the grave it found itself rotting in throughout its seventh and eighth seasons to become a show to be reckoned with once more. The whisperers have been terrific – if occasionally implausible – villains, injecting a welcome air of threat, unpredictability and menace back into the narrative.

It remains to be seen whether season nine will prove to have been the catalyst for the re-animation of The Walking Dead, or simply ‘one last scare’ before the final head-shot. For now, though, we can tip-toe ahead into apocalypse with a sense of cautious optimism.

The Jobs of the Future, Today

Posted on by

The jobs people have and the work they do can tell us a lot about what it was like to live during different times in human history. The technologies and philosophies. The hopes and dreams. The haves and have-nots. But what about the UK now, today, in our machine-led age of brands, connectivity, the internet, and social media? What kind of work is out there, and what does it tell us about the experience of living and working in 2019?

Roving reporter Jamie Andrew waded into the workforce to find out.

Davey Johnson, 46, Salt-of-the-Earth Compliance Officer, Alloa, Scotland

I’m a no-nonsense, tells-it-like-it-is, salt-of-the-earth type, and my job is to make sure that the rest of the world knows it. I carry out most of my work on the threads underneath articles shared on social media by local news organisations.

It’s exhausting work. I’m there, first thing in the morning, desperately trying to find ways to put a right-wing spin on the more gentle and whimsical articles with which these outlets tend to start the day. It can be tough. You know, I might have to find something militant to say about, say, a wee boy winning a prize for drawing a nice picture of a rabbit at his school. I’ll do it in baby steps, start off with a, ‘Wisnae like that in my day’, maybe follow it up with a, ‘These snowflakes and their pictures – I was shooting rabbits at his age’, and before I know it, I’ve slam-dunked it with a ‘Wonder if they’ll still let us draw rabbits come the Muslim caliphate, eh?’

By lunch-time it’s easy. Me, I’m feeling like Neo fae the Matrix: whoosh, bam, kaplow! Everything’s just happening, like magic. I’m skimming the headlines or the wee prompts by the page admin, and the replies are just boomin’ out of me…

‘Should kids start school at 10am instead of 8am?’ BOOM! Should they FUCK! ‘What do you think about smacking children?’ BLAM! Dae it as hard as possible. Never did me ony harm! ‘Breast-feeding in public?’ SLAP! Tits oot for the lads, absolutely NOT tits oot at my dinner table, ya manky bastards. ‘What do you think about the government’s initiative to lower the murder rate in our cities? ‘BASH! Bloody pansies! My grandfather murdered me when I was 12. And it never did me ony harm!’

The trick is to sound a bit like you’re in that Monty Python’s Yorkshireman sketch, but eighty per cent more racist.

I’m bloody good at my job. Science, solidarity and compassion are no match for the angry, knee-jerk opinions of working-class, salt-of-the-earth types like me.

Randall McCallum, 31 Dinner Photographer, Bangor, NI

Not everyone can afford a new car or a dream home to rub in their followers faces on Facebook or Twitter. You don’t need that. These days, the battle to win over hearts and minds – well, the battle to make hearts and minds seethe with rage and envy – is being fought at the dinner table. That’s where I come in.

Forget fortune. You don’t need a new car to make Elspeth who used to be in your class at school jealous as fuck. The new signifier of social sophistication is food. Or, as I like to say, Duck L’Orange is the new hatchback.

All you need is a really snobby meal slapped on a dinner plate and snapped artistically, perhaps with some augmentation filter added in so the food looks like it’s glowing or glistening – just as long as you don’t use the wrong filter and end up accidentally attaching donkey ears to your Colombian goat-loin curry.

I’m so good at what I do I can make waffles look like a meal Gordon Ramsay might one day demand to impregnate. I drape parsley over them, sexily – so bloody sexy that it seems like Leo Di Caprio might paint it – then I tag it with something like #FreshPotatoGriddles, maybe even translate it to French first, because French makes everything shit sound really good, you know, with the possible exception of Citreon and Renault.

Before I got in to dinner-plate photography, I was in the wine business. I used to snap pictures of women’s hands clutching wine glasses, and then I’d add captions in post-production like, ‘WINE O’CLOCK’, ‘BEEN THINKING ABOUT THIS ALL DAY’, and ‘OBLIGATORY AIRPORT PHOTO’, you know. The work dried up, though, mainly because my clients didn’t. They all died of cirrhosis.

For the future, I’m thinking about going into business with my cousin, Tristan, the world-famous ‘Dick-Pic Stylist’. Super talented guy, he used to have Wayne Rooney and Leslie Grantham on retainer.

Jeremy Phillipston, 23 Professional Netflix Content Absorber, Cardiff, Wales

The best part about my job is when I’m talking to someone, and they’re telling me that they’ve heard about this great new series that’s just arrived on Netflix, and I get to cut them off with, ‘Yeah, I finished it last night, it’s great, you should watch it.’ I love that.I love watching their little smiles become hyphens.

The Haunting of Hill House, the Ted Bundy Tapes, the new season of Daredevil, sixteen new films that were only dropped on Netflix last night – before you’ve even had a chance to hear about them, I’ve fucking seen them. All of them.

Not everyone appreciates what I do. Parents with young children, people who work, people who don’t sit in their pyjamas for entire days at a time eating nothing but crisps – they all resent me. It’s not my fault they’re lazy, though. They should get their priorities straight. Problem they have is, they’re spending too much time playing with their children. Too much time talking to their partners. In short, too much chilling, not enough Netflix. If I can make people feel inadequate and excluded enough that they feel driven to binge-watch television to the exclusion of all else in their lives, then job done.You’re welcome, society.

This job was recommended to me because of my interest in my grandfather’s career. He was a Full-time Plot Spoiler, and he was bloody good at it. He’d walk out of elevators with a big mobile phone clamped to his ear shouting things like, ‘YEAH, YEAH, BRUCE WILLIS WAS DEAD THE WHOLE TIME, I KNOW, I KNOW, WHAT A FUCKING TWIST.’ He once took out a full-page ad in The Times that said, YOU KNOW THAT MOVIE ‘SAW’? WELL, THE DEAD GUY IN THE MIDDLE OF THE ROOM IS THE BADDIE. PS: STONE ME, DARTH VADER IS LUKE’S FATHER.

They’re making the story of his life into a 12-part series on Netflix next year, which I’ve already seen last week.You should watch it.

Sharon Grantham, 35 Worker in a GIF factory, Huddersfield, England

Me mam worked in a factory supplying funny pictures of cats and husbands to Bella and That’s Life magazines from 1969 to 1998, so I guess this sort of thing’s in me blood – along with the diabetes.

I started off in the Meme Warehouse, but most of me friends ,last few years, said the money was in GIFs – well, they pay more, in them GIF factories, ’cause it’s more dangerous an’ that. Some of them GIFs – they don’t look big on the screen, or, like, when you use them on your phone, do they? – but some of them are, like, the size of cardboard boxes, you know, them great big ones. The big boxes you’d use if you were movin’ house and that. And heavy. I knew a lass who got crushed to death by a GIF of a dancing beaver, just splatted her face off, it did. Bits of her brains all over me shoe. Worse, though, them that ordered the GIF deleted it almost as soon as they put it on Facebook, cause what they wanted was actually a GIF of a dancing Diva, but the predictive thingy put the wrong word, so me friend died for fook all, which is a shame. Still, the boss donated a nice GIF for her funeral, it was a flower all growing fast in fast motion, like it were speeded up, so the flower started off hanging down then jumped up and out, you know. I thought it were nice, but Jimmy who works the line with me was like, Christ, Sharon, that’s the GIF me and me mates use if we wanna say a woman’s given us a stiffy, and I said oh my God, and he’s like, well, I guess she is a stiffy now, so maybe it’s alright?

It’s dead hard in the GIF factory. We can be on the production line, and the big horn’ll go off, and the boss will say over the loudspeaker, he’ll shout something like: ”ERE, YOU, YOU LAZY BITCHES, THERE A WOMAN ON A GROUP IN FACEBOOK WHO’S NOT ‘APPY ABOUT SOMETHING, SO SHE NEEDS A GIF OF A BIG BLACK LADY WAGGLIN’ ‘ER FINGER. NOT TOO SASSY IN THE FACE CAUSE SHE’S ANGRY, BUT SHE’S NOT ‘ANGRY’ ANGRY, IF YOU KNOW WHAT AH MEAN. ALSO, ‘OW WE GETTIN’ ON WITH THE BATCH OF GIFS OF ALL DIFFERENT PEOPLE BEING SICK? NEED IT FAST, PIERS MORGAN’S ABOUT TO GO ON AIR.”

I’m proud of it, cause the boss says most folk just talk in GIFs now anyway, like, cause it’s easier and more fun, and you can say lots more than you can with words, and there won’t be any words left by this time next year cause of Brexit, cause once we run out of words we won’t be able to get any more sent in from Sweden or wherever they come from. Where is it we get words from again?

READ MORE OF JAMIE’S ROVING REPORTS BELOW

After the ban: What happened to Tony Tiger and friends?

Is the billionaire superhero ‘fake news’?