Tag Archives: nostalgia

Jamie on the Box: Muppets Now

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Disney’s first stab at the muppets post-Henson, the 2011 feature film The Muppets, was almost immaculate. The character of Walter was a master-stroke, both an entry-level proxy for the new generation of kids encountering Jim Henson’s phantasmagoric creatures for the first time, and a reminder to old fogeys like me of how much the muppets meant to them and how excited we were to see them again.

The muppets themselves weren’t quite as anarchic or unpredictable as they’d been in their 70s/80s heyday – alluded to in the movie itself through Animal being constrained from indulging his destructive impulses by way of self-help therapy – but what the movie lacked in chaos it made up for in reverence, well-earned sweetness, a plethora of genuinely catchy musical numbers and laugh-out loud moments. Disney had captured lightning in a bottle, but didn’t appear to know what to do with it once they had it, as evidenced by 2014’s Muppets Most Wanted, a sequel that was watchable, though lacklustre and lacking in heart.

ABC’s The Muppets – the 2015 behind-the-scenes mockumentary that was cancelled after one season – showed staggered promise, but, again, the showrunners fatally misunderstood the property. The result was an ill-judged, frequently insipid, tonal mish-mash that alienated long-time admirers like me, and failed to ignite adoration in those coming to the muppets cold. Instead they were left cold. What I want to know is, who looked at the muppets and thought, ‘I know what’ll reinvigorate this franchise: multiple references to Kermit the Frog’s sex life.’ In the end, The Muppets new TV series wasn’t bold or edgy enough to work as an all-out, adults-only entry in the canon, but it was too adult to appeal to children. So who the hell was it for?

And now we have Disney’s Muppets Now, a show perhaps cynically designed to capitalise on the Zoom-era zeitgeist at a time when most TV shows have been crippled, cancelled or postponed by the creep of the coronavirus.

The show follows Scooter’s attempts to cobble together an online extravaganza from the filmed segments sent across to him by his co-stars, uploaded before our very eyes as we watch the episode, while Kermit frets and frowns.

The first of these segments is Life Sty, wherein Miss Piggy explores beauty, style and showbiz pizzazz, featuring guest appearances by actor/singer Taye Diggs and actress Linda Cardellini. Next comes little Walter’s showcase of his fellow muppet’s lesser-known talents, this week turning the spotlight on Kermit’s almost supernatural talent for photo-bombing. The Swedish chef is next, hurdy-gurdying through a cook-off with celebrity chef Carlina Will, before Kermit tops it off with a one-on-one (well, several-on-one) interview with Ru Paul.

And it was, you know… Okay. A bit flat. I watched it with my two young kids, 5 and 3, and they were bored for most of it. Things weren’t much better over on my side of the age divide; I sat stony-faced for the most part. I enjoyed bits of it, but again I was left wondering, ‘Who is this for? What is this for?’

The Piggy segment was one-note and predictable. The cooking segment – by far the worst – felt like exactly that: a cooking segment; an insipid piece of fluffery you might find on a magazine show like The One Show or Saturday Morning Kitchen, but without even those show’s intermittently successful attempts at good-natured humour. The Swedish chef seemed incidental to his own showcase. He was no longer the agent of chaos I’d enjoyed watching as a child (and an adult, I hasten to add). He Just seemed disgruntled and mean-spirited.  More inexcusably still, he just wasn’t funny. My kids agreed.

And what the hell has become of Kermit? I’m a Henson purist, but even still I came to appreciate and enjoy Steve Whitmire’s take on the world’s most famous amphibian. Matt Vogel is the latest actor to puppet and voice Kermit following Whitmire’s acrimonious departure from the franchise in 2017, and he’s just not Kermity enough. Vogel’s evocation/impression – whatever you want to call it – is poor to the point where I think I would be better at it, and his attempt to capture the character leaves Kermit’s green feeling distinctly grey.

Did Kermit turn to valium after his last show was cancelled? Is that the in-show explanation?

It’s telling that the strongest segment is the photo-bomb one; a segment containing two muppets and precisely zero humans. It’s very funny, and uses its characters well. Likewise, the interplay between Uncle Deadly and Miss Piggy is a genuine joy to behold. Again, it’s an interaction that doesn’t need a celebrity guest to make it work. It’s already there in the script.

Disney seems to be labouring under the misapprehension that it is the muppets’ celebrity guests that have always made the brand work; made people watch. Sure, the original Muppet Show had a different celebrity cameo every week – everyone from Elton John to Steve Martin to the cast of Star Wars – but the appearances never felt like celebrity-for-celebrity’s sake. While the show’s guest stars added a direction, a feel and a flavour to their particular episode, people would watch it whether they were there or not: there was never any doubt that the muppets had top billing. There’s something depressing and par-for-the-course about the modern iterations of the muppets trying to shoehorn in as many celebrity appearances as possible. Even when the original series featured a star that few people had heard of, the magic was still there. Not so now.

While I agree that change and re-contextualisation often can re-invigorate a long-running property, not every revived show needs I-Phones, shaky-cams, Zoom calls or numerous nods to contemporaneous social mores. Call me a cranky cultural conservative if you like. I suppose I am when it comes to the muppets, the first show I remember watching as a very small child.

I hope the next five episodes of Muppets Now contain something to make this old man and his own little muppets chuckle, or even smile. But if that turns out not to be the case, then let’s hope that someone at Disney works out that the best way to capture the energy and essence of these furry, fuzzy, fun-lovin’ little critters is to let them come home. Put them back in their theatre, re-cast a credible Kermit, and then, frankly, leave them the fuck alone to do their thing.

The Pain (and Joy) of Sending Your Kid to School

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Jack’s last day of nursery was melancholic. For me. Not for him. He ran out with a smile on his face and a spring in his step, just like he had every other day. I alone was left to feel the weight of time pressing upon both our shoulders, leaving Jack free to dance between sunbeams in the soft summer breeze. As it should be. That’s part of a your job as a parent: to absorb life’s upsets and irreconcilable truths on behalf of your children so that in later life their existential horrors can be all their own.

When that nursery door slammed shut behind Jack on that last day, he had no idea it would stay shut forever. It sounded like a gun-shot to me, but he didn’t even flinch. Future, past, and present run together in his thoughts like an artist’s palette in the rain. His life – time itself – isn’t portioned or partitioned, and so existence simply is, and things simply are. There’s nothing to fret about; no subtext to analyse. Christ, I envy him. [gulps down another Citalopram]

My wife and I took Jack out of nursery on a Thursday, a week before term officially ended, because we were flying out for a family holiday/honeymoon combo that very afternoon. I collected him at mid-day, a few hours before take-off. As we left the building his classmates were still whooping and dashing and laughing, business as usual, so Jack had no sense of something momentous having happened. There were no cues around him to tell him how to feel. It made me wonder just how much of our sadness is ceremony, a ritual learned like the steps of some lugubrious waltz. It is sad, though. The best, happiest and most innocent days of his life are now behind him, and, in a cruel twist of fate and biology, he probably won’t ever remember them.

Us on Jacks first day of school. His crazy little brother his doing his Gollum thing in the background

The end of nursery and the beginning of primary education can be a tough transition for children and parents alike. Walking through your kid’s nursery class as a parent or guardian is like walking through some wonderful dream. It’s a magical, toy-filled living room you never have to tidy up, with grubby, screaming kids in it that you never have to endure for any longer than you absolutely need to. You can spend as little or as much time in there as you like. When you drop your kid off in the morning you can spend twenty minutes helping them to settle, feigning wonderment at their ten thousand identical pictures of stick men, and variously tripping over other people’s children; when you pick them up at the end of the day you can spend another twenty minutes in hovering about, hoping that the nursery teacher isn’t going to pull you aside to tell you that your little cherub has stabbed a fork into another kid’s eye, or started reciting grandpa’s favourite racist rhyme about Chinese people.

During the day you can pop in to drop off egg cartons, or bits of pasta with googly eyes drawn on them, or a bag of Y-Fronts, or illuminous hymn books, or whatever crazy shit they’ve asked you to donate this month. You can stick around for the bulk of the day helping them to make fairy cakes with bogies baked into them, or build towers out of tea-bags, tea-spoons and tubs of butter. You can turn up in the middle of the day and take your kid out of class to attend a Mongolian throat singing lesson, if that’s what tickles your fancy. Nursery is an amorphous, collective experience.

School isn’t, and by necessity it can’t be, because part of school’s function is to prepare children for the hellish institutions in which they’ll find themselves trapped as adults, and you can’t take your favourite aunty, rolls of sticky-back plastic, coloured paper and a stuffed parrot to work with you as an adult, unless, that is, your favourite aunty has a massive stroke and you’re employed as her carer.

When you drop your child off for their first regular day of school, you’re bundling them into a fortress. This isn’t your world anymore. YOU… SHALL NOT PASS! The military discipline starts aproper. The kids are organised into quiet, at-heel little lines, awaiting the clanging-ding of the school bell and the Pavlovian rigours of the education system… although with rather more of an emphasis on gluing things and drawing pictures of cats than that last sentence implies.

Jack jumped into his first day with happiness and curiosity. As we all sat in the gymnasium receiving our talk from the headmistress, teachers started calling out kids’ names so they could be grouped together for the walk to class. When Jack heard his name, you’d have thought he’d won an Academy Award. ‘That’s me! That’s my name!’ he said, jumping out of his seat.

I have only vague recollections of my early years at primary school, little flutters of memory, like magic cuts of video-reel blown in the wind: pipe cleaners; that glue that sets on your hand like a second gooey skin; the smell of chalk and sadness; little desks arranged like rows of square islands at which our tiny forms were marooned, adrift in a sea of quiet and boredom; dusters the size of 100-year-old tortoises.

Things are different for Jack (and will be for his brother, Chris, who’s still got a few blissful years of googly-eyed pasta in-front of him). They’re better. The powers that be have closed the gulf between nursery and the early years of primary school. They now all bleed into each other, making the transition between the two a lot smoother, and a lot less daunting. We’ve finally cottoned on to the fact that little kids are better taught through play, fun, and tactile learning. There’s plenty of time for them to sit deathly still in a suffocatingly quiet room bored shitless and wishing they could escape once they join the work-force.

I remember my primary one teacher, Miss Donaldson, a thin, teetering waif of a woman whose head looked altogether too delicate to rest upon her stick-like shoulders. She was like Popeye’s Olive Oil but with big 80s glasses, and the personality of an awkward and squirrelly church organist who didn’t really like children. Her skin was a waxy alabaster, her cheeks a bright rosy red, like they’d just been pinched by a crab. She once shouted at me for opening my packed lunch about a minute before the lunch bell, and my mum came to school to shout at her. I had some of my first sexual thoughts about Miss Donaldson. They were wholly PG in flavour, of course, because no 18-rated input had yet reached my eyes (and glands). I had a dream where she gently rebuked me while parading about in white underwear. This tells me that I must’ve studied the lingerie section of the Argos catalogue in some detail at some point in my very formative years.

Luckily – or perhaps unluckily – for Jack, most primary school teachers these days are young, attractive urban professionals in their mid-twenties, so any burgeoning romantic and sexual fantasies he goes on to develop around the authority figures in his life will be a little less Dickensian in character.

It scares and excites me in equal measure that Jack is now a few notches removed from the sphere of our parental influence, and will continue to move further away with each passing year. Our input, once absolute, will now be diluted, and sometimes overwhelmed by the data and cues he receives from other sources: peers, teachers, other authority figures. I’m excited to see him learn new skills and information, uncover hidden talents and barter with exciting ideas and concepts, but I’m terrified of that inevitable day when some wee git in his class tells him what a dildo is.

I was largely a good little guy when I was a nipper, although I was undeniably off-kilter. At home, when I was 4, the local farmer had to chap my mum’s door to tell her I was in his field ‘yaa-ing’ at the half-wild horses like I was a cowboy. When I was 5, at the height of my parents’ divorce, amid the uncertainty and confusion, I blagged my way out of the class at day’s end and walked 2 miles home on my own. A few years later I tried to get our headteacher to sign off on distributing a comic I’d co-produced with a classmate, a request she denied on the grounds that the strip on the front cover showed a man boiling a baby. FASCIST!

I wonder what stories and memories my kids will have to share once they’re looking back on their school days, Wonder Years-style, like I am now.

God bless technology, is all I can say. It’s a modern scourge, certainly, but also an indispensable window on Jack’s learning. We, as parents, may be physically blocked from the classroom (except on play-days and parents’ nights), but social media grants us full access to their daily activities and highlights. We need this, because Jack has already become a teenager.

‘How was school?’

‘Good.’

‘What did you learn about?’

‘Stuff.’

[sigh]

[consults phone]

It’s going to be an interesting twelve years.

We Haunt Our Own Lives

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The first house I lived in after I was born. My parents were together then. My sister – eight years older than me – went to school just along the road. I can’t remember living here. I only know it from old photographs and stories.

We can go anywhere: soar above the earth; dive beneath the ocean; drift off into the deep and silent void of space. But there’s one place we can’t go.

Back.

And sometimes that’s the only place we want to go.

We all lived together in this street – my sister and parents – until I was four. I remember it. But not too well, obviously, because mum says the house we’re looking at here wasn’t our house. Ours was next door. It was the last time we were all a family. The house we moved to next – in which the original family blew itself apart – is the house my mother still lives in with my stepfather. It’s still open and alive to us, so it won’t feature here.

We keep moving forwards, but something keeps pulling us back to the portals of our pasts, where we stand peering through the misted glass, trying to make sense of the shapes that shift before our eyes like shadows. We haunt our own lives, along with the ghosts of those gone from us, both the living and the dead, their marks passing over us like dust in the moonlight.

Then darkness.

We can never go back.

But we can’t stop trying.

My uncle and aunty lived here, with my 3 cousins. There was always laughter here, and jokes, and chaos, and copies of 2000AD.

Have you ever stood outside a place that used to mean something to you and tried to will it back to life: a place that now stands forever beyond your reach; a locked vault swollen with memories?

It’s bitter-sweet. You know that the only thing lying in wait behind that door is the erasure of the memories held in such precarious balance by the bowed and twisting column of your imagination. Someone else lives there now. Another person. Another you. Another life that’s swallowing yours, until theirs is swallowed in turn. Before everything’s swallowed.

I took my kids with me to some of these sacred places in my life. I asked my partner to photograph us. My kids and I gazed dead ahead at the past – my past – keeping our backs to the here and now. I know my kids will never get a chance to go through those doors with me, or feel what I used to feel every time I’d reach out a hand to knock on them. I know they’ll never get to meet the people who once stood behind those doors (most of them are either estranged from me or long since dead).

But I wanted to stand there with them by my side. It made me feel content, somehow. Like a circuit had been completed.

My maternal grandparents’ house. The wall used to be a hedge, and we’d vault it – my cousins and I – much to gran’s mild displeasure. I’d play Countdown with my grandparents, and listen to my papa tut at the soaps and chat shows that followed, which I suspected he secretly loved. My gran had names for every person who walked past in the street. She called her window ‘Channel 5’. We only had 4 TV channels then.

The kids, of course, felt nothing.

They were, after all, just staring at old, unfamiliar houses, no different from a thousand they’d seen before. Piles of brick and mortar, nothing more or less.

But as I stood there clutching their hands, or holding their tiny bodies against my own, for a moment I was there. We were all there. I’d taken them back with me. My brain had breathed life into the poetry of the ordinary, and turned those doors into time machines, reconstructing the things and people on the other side of that thin skin of wood with almost perfect clarity.

I could hear the shuffling of slippers down hallways, and the faint ticking of a clock on a mantelpiece; I could smell lentil soup wafting in from the kitchen; I could see ring-marks left behind by a favourite mug, and pictures hanging askew on the wall. I could see myself – younger, leaner, less corrupted – standing on the precipice of a life that would be at once more terrible and more precious and wonderful than I ever could have imagined. I could see and feel it all. The dead were alive, and the miserable were happy.

The top floor flat where my partner and I started our family. One kid was born here, but we moved to our current – much more peaceful and sanguine – home a few weeks before our second arrived in the world. Neither kid has any memory of this home. We’ve come full circle. Their story – and trail of pixelated breadcrumbs – begins here.

I think we have a hunger for our kids to know us, to feel what it is to be us. But they can’t. We’re ‘we’ and they’re ‘them’. Our lives are gone, or at least shifted, and theirs are just beginning.

But in those moments as the camera clicked, for one blessed, frozen second, we were there… actually there. And we would always be there. All of us.

In the eternal past.

Together.