Tag Archives: *TV*

Jamie On the Box – After Life, The Walking Dead

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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 Most Striking TV Moments of 2018

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There was a lot of great TV this year. Among the stand-outs were Better Call Saul, Future Man, Barry, Glow, The Americans, Ozark, The Good Place, Santa Clarita Diet, Preacher, Ash vs The Evil Dead, Agents of SHIELD, Bojack Horseman, Big Mouth and the documentary mini-series Wild, Wild Country. There was also a lot of good, but not great, TV this year: Orange is the New Black, iZombie, The X-Files, Star Trek Discovery, The Man in the High Castle, Fear the Walking Dead and Westworld among them. There was also a lot of missed TV this year, owing to a seemingly endless explosion of new shows.

There’s so much TV, on so many channels, across so many platforms, and always more and more and more, year upon year – much of it of a high pedigree – that to miss even a month of watch-time would be to find yourself a year or more behind the zeitgeist. Or so it starts to feel. Even when a great show reaches the end of its natural life, potentially freeing up a space in your schedule, another six – of equal or comparative quality – rise to take its place. As a consequence, I haven’t yet had a chance to watch The Haunting of Hill House, a single episode of This is Us or Atlanta, Sharp Objects, The Bodyguard, Castle Rock, Save Me, Killing Eve, The Sinner, the latest seasons of The Affair and The Deuce, season 3 of The Expanse, season 3 of Daredevil. The list goes on…

(I have, however, managed to binge my way through Vikings and Outlander. I’m enjoying both enormously. You can read my Outlander Binge Diary from the beginning HERE)

What I’m trying to say is that this list of ‘Striking Moments’ is in no way supposed to be exhaustive or scientific. Just in case you all start clamouring to say things like, ‘But what about this moment, or what about that moment?’ Or ‘This whole list falls apart without the inclusion of this, that or the other moment’. I’ve got two kids, a partner and a day job, asshole. I can’t just sit around watching TV all day, just to make YOU happy. In saying that, I hope that some small part of this list does make you happy, because it’s Christmas and I’m a nice guy.

Without any further ado, then, and in no particular order:

Vikings – Floki’s utopia

OK, so this is technically cheating, because the following moments/episode technically premiered in late 2017, but because the half-season spilled over into 2018, I’m including it here.

The battle to avenge Ragnar’s brutal death predictably led to further battles, bloodshed, and renewed divisions. Floki’s arc, running in tandem with and parallel to the journeys undertaken by the vengeful sons of Ragnar, also came to a tragic and bloody end, with his wife, Helga, being murdered by the half-kidnapped/half-rescued Muslim girl she’d brought back from the Mediterranean with her as her adopted daughter. Floki’s soul went into free-fall. He declared himself an empty vessel, and put himself at the mercy of fate, spending weeks in his small boat drifting aimlessly upon the tumultuous seas, letting himself be carried by the winds of fate and the hands of the Gods, wherever they saw fit to take him.

They took him to the country we know as Iceland, though he mistook it for Asgard, the home of the Gods themselves. The sequences wherein Floki wanders the empty, rugged landscape of fire and ice are beautiful and breath-taking. One minute the air fills with the rush and thunder of water, like a God’s roar breaking above him, the next silence – the silence of death; the sound of an empty world at the universe’s end. Angry waves break on beaches untrammelled by human feet, and in the distance a plume of primordial smoke slithers into the freezing air, a reminder of the violence sleeping just below the surface of this whisperingly empty world.

In the end this new world – this blank canvas of peace and promises – is corrupted, as worlds always are, by mankind. But that comes later. When Floki, a lone prophet in the ethereal wilderness, casts his widened eyes on the raw magnificence of a pre-human Iceland, we too can feel the island’s ancient power, and imagine a little of what it must have been like to walk the line of awe and terror in a world that was foreign to us in every way.

Soul-stirring.

And a great advert for the Icelandic tourist board.

The Man in the High Castle – Lady Liberty up in smoke

From the beginning, The Man in the High Castle’s world-building has been exquisitely rich and detailed. The Japanese Pacific States, the Neutral Zone and the Greater German Reich all look and feel lived-in and eerily authentic. This nightmarishly plausible landscape of a world where World War II’s winners and losers were reversed is so immersive – so grimly fascinating to spend time in – that the show was able to get away with moving at a slower pace during its first season, taking time to revel in the shadows of its mysteries.

Season three saw the show leaning into its sci-fi multiverse concept harder than ever before, plus piling on the tragedies and agonies of its deeply conflicted characters. Smith and his wife were put through the wringer (I feel I can get away with using archaic metaphors when I’m writing about a show that’s set in an alternate 1960s America), Frank struggled to find somewhere to belong, and the Nazis were gearing up to invade other universes.

The season’s most iconic, though, moment came in the finale, when a ranting Himmler presided over the destruction of the Statue of Liberty. Seeing flames and spinning debris exploding from that great monument to liberty and freedom, as people whooped and cheered, was as captivating as it was horrifying. Himmler had declared war on history and truth, and the people loved him for it.

All told, a timely and powerful reminder that nothing, not even Lady Liberty, is set in stone, and everything – even reality itself – can be undone and remade.

Fake news is in the eye of the beholder.

Or sometimes the bomb-holder.

Ozark – Drop me a line sometime

I really liked Ozark’s second season, but do you know what I really, really liked? Witnessing a character in a TV show sending a text message, and the typing and sending of that text message taking the actual length of time it would take to send that message in real life. I almost wept with joy. I know reality occasionally has to be suspended or sacrificed in order to keep a story flowing, but Christ, I didn’t realise how much TV’s two-second text messages had been getting me down. Thank you, Ozark. Thank you so bloody much.

Plus, kudos to Ruth Langmore’s line, which I vow to use often in 2019: “I don’t know shit about fuck.”

Walking Dead – Rexit Means Rexit

Andrew Lincoln was leaving The Walking Dead. Fans were bound to find out. It wasn’t a particularly large leap from that revelation to the reality of a hard Rexit. However, Rick wouldn’t be leaving in the traditional, tried-and-tested manner of every other character who’d left the series since its inception, i.e. either living dead or dead dead, but moving over into a movie-based Walking Dead pocket-universe, where fans would get to see him Rick-xercise his authority one last time. AMC certainly didn’t want anybody to know that. At least, not yet.

AMC obviously couldn’t stop news of Lincoln’s departure from leaking out – after all, we live in an age of information in an intimately, interconnected world – but the network could use the news to its advantage, and with a little creative sleight-of-hand throw the audience off the scent of Rick’s true destination. What better way to blind-side the audience than by coming at them head-on, not only peeping and shouting about Rick’s departure, but making it the lynch-pin of AMC’s marketing strategy? The network very cleverly – or infuriatingly, depending upon how you look at it – hinted at Rick’s death and told the whole truth about his fate at the same time, and using the same words.

It’s a shame that Andrew Lincoln had to bail out just as The Walking Dead was getting good again, and it’s an even bigger shame that Rick’s exit episode threw the season’s momentum into reverse. Thankfully, it recovered again, and the mid-season ended strongly, but Rick’s goodbye could just as easily have dynamited the whole show. Whatever you think of the execution (and you can find out what I thought about it by clicking HERE), there’s no denying that it was a bold gambit, and – for better or ill – AMC definitely created a piece of event television.

House of Cards – Claire stacks the deck

House of Cards’ sixth and final season – sans Spacey – started strongly, faltered at the half-way mark, and then limped through a landscape littered with more bodies and serial implausabilities than it had ever before managed to muster, before collapsing in a messy, bloody heap on the floor of the Oval Office.

Robin Wright was exceptional (as always) as the lizard-like Claire Underwood, and it was interesting to see how her grip on, and relationship, to power differed from that of the freshly-dead Francis. It might have been an exceptional swansong season had Kevin Spacey’s disgrace not forced the creative team to improvise and engineer an ending instead of letting the end-game unfold as per the original plan.

Season six did, however, have one tremendously powerful image, that will stick with me for a long time: the unveiling of Claire’s new all-female cabinet. This wasn’t a sudden burst of ultra-feminism from Claire, or some bold idelogical statement, but rather another example of Claire using her power and cunning for strategic gain, fashioning the cabinet into a people-shaped ‘fuck you’ directed out at the world, and into the face of her equally lizard-like enemy, Annette Shepherd (Diane Lane).

The stunned look on Annette’s face as the silent table of women stared out at her from the cabinet room, before Claire shut the door in her face, was absolutely delicious.

Bravo, Claire. And bravo House of Cards.

Westworld – Ooh, Heaven is a place on earth

The best episode of Westworld’s second season, and also one of the best TV episodes of 2018, was it’s eighth, Kiksuya, which took Akecheta of the Ghost Nation on a journey through sorrow and sacrifice on the bitter road to sentience. It was a beautiful paean to love and identity, viewed through the haunting prism of loss.

But as striking and memorable moments go, it’s hard to beat the image of a caravan of hopeful, frightened and confused Westworldians trudging, marching and fleeing to the top of a rugged hill, as chaos and death erupts at their backs, towards an image of heaven itself: a doorway to a new world, the promise of new and eternal life, a perfect life in a perfect world; one that uploads their ‘souls’ and ‘essences’ into the heart of the matrix at the same time as it sends their broken, empty bodies to the bottom of the unseen and unseeable cliff just beyond the portal. I’ve seldom seen such a powerful conflation of faith, hope, horror and happiness.

Final proof, if further proof was needed, that the ‘synthetics’ are just as fallibly, desperately ‘human’ as we are.

Who is America – Welcome to the party, sphincter

Sacha Baron Cohen’s fresh dose of satirical punk-nacity never lived up to the promise of its mostly very funny first episode, losing focus and drifting into disjointed and uninspired puerility as the series progressed – and I say that as a life-long fan of the man’s work. However, one new character, former Mossad agent and anti-terrorism specialist, Erran Morad, never failed to elicit laughs, and featured in what was quite possibly one of the funniest sequences Baron Cohen has ever committed to screen.

I’m talking about the third episode’s Quinceanera skit, where Morad took three, real-life, Trump-salutin’ motherfuckers under his wing to teach them how to defend themselves against the greatest evils of our age: Muslim and Mexican immigrants. The ignorance, prejudice and empty-headed racism of the three men made them perfect conduits for Cohen’s devilish brand of justice-based pranksterism. Within minutes they were smearing their faces with KY jelly, and slipping on ‘pussy panties’ and fake boobs.

But the best was yet to come. The piece de resistance, the segment that had me howling until I couldn’t breathe, was the staging of a fake Quinceanera party, loaded with drugs and drink, at which one of the dolts was dressed as a 15-year-old Mexican girl, complete with fake pussy, and another crouched inside a pinata with a hidden video camera, waiting to bust the gaggle of Mexican rapists and drug-addicts who would surely swarm to their bait after reading the giant sign Morad had erected by the road-side, which read: QUINCEANERA 5pm – FREE DRUGS! YOUNG GIRLS! YOUNG PUSSY! The moment where not Mexicans, but police officers, arrived on the scene, demanding an explanation, almost killed me.

American Horror Story: Apocalypse – It’s the end of the world as we know it

AHS is an odd beast, an absurdist collection of horror tropes all wrapped up in a slick package with sex, songs and sadism. Given that its an anthology series that renews its setting, themes and characters each year (sometimes it returns to old haunts), most of its seasons take a few episodes to find their feet; to assemble all of their many weird little pieces into something resembling a coherent story (some seasons don’t manage it at all). I really like it. Even in its weaker seasons and moments it usually manages to rustle up a great episode, or a stand-out scene or sequence.

This time around, I really admired the first few minutes of the premiere, which did a brilliant job of conveying the fear, urgency, horror and panic of the impending apocalypse. I really felt the dread, tension, helplessness and savagery of the dying world as its people scrabbled to survive at any cost.

Striking stuff.

Better Call Saul – The mask slips

This whole series is one long, unbroken striking moment, and if you aren’t already watching it, then it’s my duty to tell you that you’re missing out on one of the most immaculately-crafted, pain-stakingly plotted, perfectly-acted, richly cinematic, emotionally resonant and funny shows of recent years, wildly different from but just as powerful in its own way as its parent-show Breaking Bad. Rhea Seehorn and Bob Odenkirk in particular smash it out the park in almost every episde.

So watch it.

I could’ve chosen so many moments as this year’s best – from Mike assassinating German faux-Walter in the desert beneath the cold glare of the moon; to the ‘Something Stupid’ montage that showed the steady breakdown of Kim and Jimmy’s relationship, but I’m going to plump for the exact moment at which Kim realises that the good but complicated man she’s loved and championed for so long may in fact have be the dark, irredeemable creature his brother, Chuck, always accused him of being. Maybe he’s become it, maybe he’s always been it. But there can be no doubt: the mask has slipped. Slippin’ Jimmy McGill is now Saul Goodman.

Preacher – Did I get your order reich?

At the end of Preacher’s first season, Jesse Custer accidentally sent poor Eugene Root to Hell, courtesy of a slip-of-the-tongue that was tragically literalised and amplified by the Godly power of Genesis. Eugene spent season two adjusting to Hell – imagined as a grimy, cyber-punk, dystopian space prison – and striking up a warm and fuzzy friendship with none other than Hitler himself.

Although there have been almost as many fictionalised Hitlers committed to the small screen as Santas, Preacher at least attempts to do something novel with its version of the Fuhrer: it tries to redeem him. It’s a strange feeling to find yourself empathising with perhaps the most vicious mass-killer of the twentieth century as he’s being bullied by his peers and struggling to make friends.

Thankfully, as soon as old Adolph escapes to the earthly plane he reverts to type, rushing off into the world with a renewed sense of cowardice, hatred and zest for mass-death, and we can cancel our membership card for ‘Team Hitler’.

All of this leads to one of Season 3’s funniest and most enduring moments – among a multitude of others in this gloriously ghoulish and mirth-tastically mental show – the sight of Hitler working in a low-tier fast-food restaurant. Although he still has the trademark hair-do, moustache and accent, he’s gone to great lengths to disguise his identity, evident by the name-tag he wears on his lapel, that says ‘HILTER’.

Watching Hilter/Hitler try to whip up enthusiasm for a fascist uprising, even resorting to screaming in German, while he enjoys some sandwiches with his bored work colleagues behind the bins at the back of the restaurant, is bizarre, unsettling and hilarious, much like the rest of the series.

Roseanne – Roseain’t

When Roseanne returned to our screens earlier this year after a break of twenty-one years, the eponymous matriarch cackled back into a landscape that was radically different to the one she’d left. Last time around she was a blue-collar mother raising a family in Clinton’s America (give or take a hint of Bush); this time around she was a grandmother scrabbling to survive in Trumpland, paying lip-service to the orange one’s policies while at the same time suffering under them. I say ‘was’, because Roseanne is now no more. Not the show – which dropped both the star and her name to continue on as ‘The Conners’ – but the character, who is now dead and buried, finished off by an accidental over-dose of pain-killers that she’d become addicted to because she couldn’t afford a knee operation.

In reality, though, Roseanne was killed by Roseanne Barr herself, who ended both her character’s life and her own career with one ill-advised, seemingly racist tweet, attacking a former staffer of President Obama (strange behaviour from Roseanne, who I always thought of as a former working-class hero, a champion of gay rights, and a person who always stood up for the little guy – I guess fame and pills can do that to you).

Trump tweets with impunity; his supporters and apologists, it seems, do not. I guess it’s easier to get people booted off TV than it is to get them booted out of the Oval Office. Still, if Roseanne can be re-imagined without Roseanne, then perhaps there’s hope that one day, America can be re-imagined without Donald Trump.

Whatever you think of a Roseanne-less Roseanne, or the events that led up to it, the image of Dan Conner (John Goodman) lying alone in his Roseanne-less bed, was strange, sad, powerful and affecting, and definitely one for the ages.

RIP Roseanne. Long live The Conners.

Doctor Who – Old Mother Time

I wasn’t terribly enamoured with the idea of the Doctor changing sex when it was first announced. Some of that was down to Jodie Whittaker, who somehow didn’t feel quite doctor-y enough. If you’re going to go down that road, why not Olivia Coleman, Tilda Swinton or Caitriona Balfe?

But, yes, I also didn’t like it because I felt that the change was both unnecessary, and undertaken in a confrontational spirit. I feared that the big move would be framed in ideological rather than creative terms. These were concerns that the show’s pre-air promos did nothing to assuage. Certainly my worst fears were confirmed when I saw Jodie Whittaker standing beneath an actual glass ceiling as it shattered into pieces, as the words ‘IT’S ABOUT TIME’ flashed up on screen. I had no idea that the Doctor, a geeky icon to generations of children, had been working all these years as a repressive agent of the patriarchy.

Now, before we continue, let me just take a moment to assert my credentials as a card-carrying non-misogynist, lest you condemn me as some sort of fundamentalist, knife-wielding incel for my opposition.

I’m a man who was raised in a matriarchal household, with an older sister who served as something akin to a second mother. I’m pro-choice, pro-breast-feeding, and pro-equality, even though arguably all of these things should be a person’s default position. Most of my educators have been women, certainly one hundred per cent of my nursery and primary teachers. Most of my bosses throughout my working career have been women. What I’m trying to say is, em, ‘All of my best friends are women!’ Christ, I know how that sounds. Stick with me.

I believe that while there can be biological, physical and psychological differences between men and women, there should be no differences in the rights afforded to them to control their own lives, bodies and destinies. Men and women should have equal capacity to succeed and prosper. Women can rule countries and perform brain surgery, men can be nurses and nursery teachers. Many of the gender stereotypes we’ve clung to over the centuries, decades and millennia have been harmful, regressive and nonsensical.

So, I’m pro-woman. Or just pro-human, if you prefer.

I was prepared to have my fears laid to rest. I was prepared to be proved wrong,

But they weren’t. And I wasn’t.

Picture shows: The Doctor (JODIE WHITTAKER)

Ultimately, season 11 didn’t fail because the doctor was a woman – or at least not only because of this – but because the lead actor was miscast; because the scripts were dull, corny and vapid; because the episodes were boring; because the characters were so poorly defined (including the Doctor, and with the exception of Graham, but I suspect that had more to do with Bradley Walsh’s performance and inherent charisma than any difference in how the character was written); because of weak villains; because of messages being hammered home at the expense of plot and character; and, most crucially, because it no longer felt either like sci-fi or Doctor Who any more.

So, ‘New’ New Doctor Who?

A striking moment in TV history – but for all the wrong reasons.

Thanks for reading. See y’all next year, TV fans.

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

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Part 7: Death Becomes Them

Wherein we say, ‘Adios, Dukey’, and consider the twin titans of love and death

I still encounter people, mostly men, who sniffily dismiss Outlander as a sort-of slightly more risque Downton Abbey: all frilly collars, bloodless duels, breathless embraces, passionate kisses, romantic outpourings and impenetrable ye olde speak. I can’t blame them. I counted myself among their number until very recently. Perhaps they’ll take the plunge, as I did, and find to their surprise and delight that Outlander is a fast-paced, funny, well-written, visceral and occasionally very, very gory show; a rollicking roller-coaster of pure entertainment that’s got more in common with Vikings than it does Howard’s End.

Help is at hand. Well… head. Every time I find myself slipping back into old habits and buying into the lie that Outlander is first-and-foremost a piece of soppy romantic fiction, I’m going to remember Murtagh hacking off the Duke of Sandringham’s head and kicking it across the kitchen floor like some horrifying football with eyes. It doesn’t get much less bosoms and bodices than that.

When the camera panned to Murtagh’s bloodied face I was a little disappointed not to hear him issue a classic action-movie quip, something along the lines of: “I guess he finally stuck his neck oot for someone,” or “This isnae the time tae be losin’ yer heid, duke.” Some things are better left unsaid, I suppose, and I’m sure I would’ve been disappointed had Outlander suddenly and inexplicably turned into an Arnold Schwarzenegger movie. I did thoroughly enjoy Mary Hawkins’ parting line, though, which must surely qualify as one the greatest understatements of the century (indeed, of two centuries), not to mention one of the most blindingly obvious: “I think we’d better go.”

Yes, Mary. I think you might just better had. Mind how you go. Watch you don’t trip over all those bears shitting in the woods, and Catholic popes.

And, so, another baddie bites the dust. Farewell, then, Duke of S, you slippery, slithering, sociopathic little socialite. I’ll miss you – although in the hours leading up to your death your villainy lost a little of the nuance that had made me love it, and you, so much. I preferred you with your mask half-on, when your charm was the loudest instrument in that cross between an orchestra and an arsenal you always kept holstered in that sallow old soul of yours.

The Duke and Randall were certainly well-matched companions as they marched together along the merry road to complete-and-total bastardom, both wearing their narcissism on their sleeves, but with the Duke’s cold anger resting a little deeper beneath the surface than Black Jack’s. There was something cartoonish about the Duke’s savageness when he finally unleashed it, but I suppose as he entered his final gambit he had little need of charm or pretence, preferring instead to cast them aside and growl out the details of his fiendish scheme like some low-tier Scooby Doo villain. “And I would’ve gotten away with it, too, if it wasn’t for that pesky, propulsive, all-consuming love between Jamie and Claire!” You silly man. Never bet against Jamie and Claire’s love. NEVER.

While the show doesn’t always have the outward appearance or traditional structure of romantic fiction, that molten kernel of Anglo-Scottish passion and devotion that sits at its core is hard as a thousand diamonds, and turns the very world of Outlander around it. Claire and Jamie are like a reverse Romeo and Juliet, whose tragedy is radiated on to the people around them, causing them to die instead.

Ultimately, the very thing that made the Duke’s plan ‘work’ – Jamie’s love for Claire – was also the very thing that guaranteed its failure. But we’ll let the Duke off the hook for that, because the poor love had no idea he was a character in a TV show.

While Sandringham’s mask was off (before his very head was off, too) he revealed to Claire his fiendish plot to hand over Jamie and her, his traitorous wife, to the King, so as to remove all suspicion from the Royal Court that he was, or ever had been, a Jacobite sympathiser. Which of course he was/had been, whenever it seemed to suit him. He seemed to be perpetually hedging his bets like some covetous, duplicitous cross between a Ferengi and a Vorta (dropping in some hard-core Deep Space Nine references, y’all). There were innumerable signals throughout the series that old Dukey Boy wasn’t exactly the world’s most committed Jacobite, but even if you didn’t know his history of self-serving treachery, his line to Claire “Gaelic – do you speak that barbarous tongue?” gives the game away somewhat. Claire has always had his number in any case.

Duke: “You know in my heart I’ve always been a Jacobite.”

Claire: “I’m reasonably sure you don’t have a heart.”

Hey, guys! Black Jack Randall’s back in town, too! But more on him later… The Duke also revealed that it was he who had hired the rape gang back in Paris, of which Claire had been the intended target, with poor Mary becoming the worst kind of collateral damage. It was for this heinous crime in particular that Mary Hawkins and Murtagh had vowed bloody revenge on the Duke (though they hadn’t known he was the guilty party when they’d made their vow), and it was revenge – foul and bloody – that they got. In the kitchens of Callendar House, no less. Callendar Park and House is situated across the road from my old high school. And my two kids were running around like possessed Tasmanian devils in that very kitchen during an open day last year. As much as I’d like to see their flash of recognition, I think I’ll wait until they’re at least… five before showing them that scene. I don’t want them to be scarred.

It was a nice touch to see the Duke desperately trying to re-fasten his mask of civility when Jamie burst into the kitchen; even nicer to see the vain old sod clamouring to put his wig back on. Even when facing certain death, appearances were still the most important thing to the Duke.

While appearances are certainly important, they’re never that important, and they can be incredibly deceptive. Take Dougal, for instance. He’s a son of a bitch, to be sure, but yet he keeps committing genuinely selfless acts that confound my impression of him: like testing how far the English soldiers’ bullets can reach across a battlefield by proffering his bald head to the enemy, or daringly dashing to Rupert’s rescue after he’s been shot by a band of Redcoats.

Let’s talk Rupert. I’d like to submit old Rupes into the running for the ‘Unluckiest Man in the Universe’ award. First, he almost dies in battle; then his best (perhaps only) friend in the world dies violently in a froth of his own blood having risked his life to save him; then he gets his eye shot out; then he gets captured … I’m sensing a pattern emerging. What next? A giant piano crashing down on his head? An anvil? A massive stick of ACME dynamite? Rupert’s recent hardships bring to mind Chef’s ludicrously drawn-out death sequence in South Park. Worse still, even if poor Rupert recovers, the only future open to him is an unspeakably violent death on the battlefield at Culloden, which he’ll meet while wearing an eye-patch that I hope earns him the nickname ‘Nick McFury’. Maybe in another life Rupert will come back as a lucky white heather salesman.

Death is everywhere in these two episodes. It’s so ever-present it’s almost a character. Claire, especially, is submerged in it, giving palliative care to her greatest enemy’s kin, and euthanising her old boss cum gaoler. Everyone has come to Culloden to die, it seems: the soldiers; Colum; Alex Randall; Black Jack Randall (although he doesn’t yet know it). It’s the bloody Switzerland of the north.

Death has the power to transform, to soften, to redeem, and that’s as true in Outlander as it is in life. Death is both transformative in a literal sense and transformative in a retrospective, metaphorical sense. Literally, because… well. You’re dead. It doesn’t really get much more transformative than that; even a caterpillar would have to agree. And retrospectively, because at the very moment when someone’s light is extinguished we tend to remember the light of their life shining brighter than perhaps it ever really did. We remember the departed as being better and bolder; cooler and kinder. Our love and mercy are amplified.

Much of our wistfulness springs from our own feelings about death: we fear it almost as much as we revere it, so we tend to become awestruck in its presence. We sit and we ponder, and we think to ourselves, ‘One human being fewer in the great infinite canvas of the cosmos, and yet what an incalculable loss to the universe,’ and perhaps – depending upon who we’ve lost – we cry, our grief temporarily blinding us to the world.

This whole, sad process can sometimes make it easy to forget that the person we mourn was – if you’ll allow me to fall back on reasonably esoteric philosophical language for a moment – an absolute fucking dickhead.

Death’s looming spectre is the only thing that makes half of the characters in this show palatable. Not only did I almost shed a tear for the immensely irritating Angus during my last binge-watch, but this time I found myself bubbling up as crotchety old Colum breathed his last.

I never really liked Colum – the character, not the actor – and I’m positive I wasn’t supposed to, but the combination of Dougal’s goodbye, and the revelation of just how pragmatic, insightful, forward-thinking and measured a leader Colum could be (and undoubtedly was, though I was perhaps too blinded by distaste to see it) made me realise that I’d miss him. Although I won’t miss his dress-style. In many ways he deserved his death simply for turning up wearing that brown fur coat, looking more like a horse-racing pundit, or a 1st-division football manager from the 1970s, than a laird.

To be fair, Graham McTavish absolutely knocks it out of the park during Colum’s death scene, no doubt reveling in the opportunity to show some of the nuance behind the gruff and growling Dougal. It’s all there in the complex carousel of emotions swirling and spinning on McTavish’s face: the haughtiness, the hatred, the love, the guilt, the spite, the remorse. Despite all that’s passed between them, love prevails. That’s what stays with Dougal, and that’s what stays with us. Christ, it was moving. When Dougal hugged Colum and blubbed, ‘All this cause you couldnae stay on a bloody horse,’ I absolutely lost it. I’m not allowed to say I cried like a big girl anymore in 2018, so I suppose I should say that I cried like a big man, and that’s okay, because men can cry too. BUT ONLY AT TV AND FOOTBALL.

Black Jack was in town, too, so it was time for us to dust off the DSM and have another game of ‘Psycho Bingo’. Except, initially at least, this was a different Black Jack. A more rounded, human version; one who seemed to show tenderness and compassion. He was in town to tend to his brother, Alex Randall, who was succumbing to the illness that had plagued him since Paris. Turns out old Black Jack had also been paying the bills for both his brother and his newly pregnant wife, Mary Hawkins. What a… nice… thing to do. It is nice, isn’t it? Is this still earth? Am I still me? Is up still ‘up’? Why is Captain Randall being nice?!

When Black Jack encounters Claire at his brother’s bedside he begs – begs?! – her to nurse him back to health, or out of suffering, but she refuses unless Black Jack agrees to reveal the location of the British troops.

“You would barter over an innocent man’s suffering?” he asks her.

This was delicious: the indignant nature of the sociopath, railing against injustice with zero sense of perspective or irony. It brought to mind Tony Soprano scolding his psychiatrist for ‘acting unethically’, or Ted Bundy complaining that it was inhumane not to have access to his prison library.

But Tony Soprano and Ted Bundy both, in their own way, helped people, too. Tony was capable of great generosity and gregariousness, and Ted Bundy volunteered at a crisis hot-line, often talking people out of self-harm and suicide. In both fiction and real-life there are plenty of examples of sociopaths doing good deeds, even if they could never be described as good people.

Black Jack ends up doing something else ‘nice’ for his brother: agreeing to marry Mary Hawkins so that she and her baby will have his protection. I must admit, Mary’s pregnancy brought me great relief. I’d feared that she was going to have to suffer savage treatment at Black Jack’s hands in order for the integrity of the time-line to be preserved, but this was a nice swap-out, and one that means two wonderful things: Frank isn’t directly descended from his evil doppelganger, and Mary Hawkins will only have to be joined to this monster for a couple of days before death officiates their divorce.

The road to Black Jack’s agreement to this union was an interesting if deeply uncomfortable one. At first, it seemed like Randall was using his discussion with Claire to indulge his sadism – revisiting his crimes upon Jamie just so that he could watch the pain and anger on Claire’s face – but he was essentially, in some weird and deeply warped way, trying to save his brother’s wife from his darker nature. Was that… noble? I’ve no idea.

Then Black Jack watches his brother pass, and the contrast between him and Dougal couldn’t be more stark. Claire once called Dougal a narcissist, and I disagreed. This episode carried the proof. Dougal is a complex, vain, bottled-up, angry muddle of a man, but there’s nothing pathological about him. He grieves, he feels, he loves.

Black Jack, on the other hand, rather re-affirms his narcissistic status here when he explodes in rage at the point of his brother’s death and starts punching his newly dead brother in the face. I laughed, very loudly, mostly at the shock and surprise of it.

When it comes down to it, there’s no changing Captain Jonathan Randall.

And there’s no changing Culloden.

See you for the finale.

A few final disjointed thoughts

  • Let’s have one final nugget of appreciation for Simon Callow’s turn as The Duke. What a character: so deliberate, so poised, so deliciously wicked. “The last thing I’d do would be to blurt.”
  • In episode 11, we see Claire extracting a woman’s tooth – now THAT’s a rational fear of the dentist. Us lilly-livered, pink-drink-drinking sissies don’t know we’re born.
  • Pity poor Rupert as he sits lamenting the death of his friend, Angus, through the re-telling of bawdy stories about the hairy-faced little rat. Drunk and dead-eyed, Rupert turns to a young lad who’s waiting in line (understandably very reluctantly) for some 18th century dentistry, and adds to his trauma with the story of the time Angus swallowed some teeth. “Said he didnae shite for a week for fear of being bitten.” That made me laugh.
  • I wonder how they made that horrible squishy-cracky sound when Claire retrieved the musket bullet from Rupert’s eye? That was appropriately revolting.
  • The awful spectre of rape hangs over just about every episode of this show. Remember when Claire offered herself up to the English soldiers, claiming to be a hostage, to ensure the freedom of Jamie and Dougal et al? No sooner had I written in my notepad ‘I do hope she isn’t threatened with rape again’ than a sleazy English soldier cocked a leg and said, ‘You look like you need warming up.’ Talk about #McMeToo
  • Jamie tried to convince the Bonnie Prince that the men were weary, and should be allowed to rest, replenish and regroup, to which the daring dandy replied: “I am not some frightened hare to be chased down by a pack of English dogs. I am a man. I am a soldier. And I shall comport myself as one.” At which point I offered an incisive critique of his tactics by shouting at the TV, “Fuck off, you wee wank.”
  • Murtagh on Frank Randall: “Hasn’t enough suffering been had in the name of saving that mythical prick?” Murtagh, I bloody love you.

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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, Ep 13

30 Things You Didn’t Know About Scotland

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

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Part 2: In and Out-lander

Wherein change is a constant, truths are revealed and Claire gets her hands aw covered in pish

My partner Chelsea is something of an Outlander veteran, having watched the first season-and-a-bit without me last year. She wasn’t being mean by leaving me out, you understand. She asked me at the time if I wanted a piece of the tartan action, and I said, well… I believe my exact words were ‘Fuck that.’ I didn’t think it would be for me. I loved porn, I loved Scottish scenery, I loved time travel, but I didn’t necessarily feel that I needed them all together in the one package, especially with the added threat of romance.

Five episodes into my binge she asked me if I was enjoying the show so far. Well, I know better now, don’t I, having dipped my toe in the heeland loch. I told her I was enjoying it greatly. How could I not be? It was well-acted, fast-paced, intriguing, and looked vibrant and beautiful to boot. What pleased me most, though, I told her, was that the heavily-promoted romance element of the show had remained somewhat in the background, or at least wasn’t as strongly emphasised as I’d feared it would be.

She gave me a puzzled little look, like I’d just announced that robots were great because they were almost exactly the same as bananas.

“No, really,” I continued, doubling down on my rave review, “I thought Outlander was going to be this quirky, 17th-century rom-com, where the main characters would get married really quickly, and there would be endless soft porn scenes, but, you know, mercifully, it doesn’t appear to be that kind of show at all.”

She looked at me with eyes full of sorrow and pity, as if a doctor had just told her I had weeks to live, and she didn’t yet know how to break the news to me.

At that exact moment, she must have been thinking about episode 7, The Wedding. I was soon to discover that said episode was essentially a quirky, 17th-century rom-com, where Claire and Jamie got married really quickly, and which featured endless soft porn scenes. What’s the Gaelic for bow-chick-a-wow-wow? Honestly, ten solid minutes of that episode were just the newly-weds checking out each other’s arses, followed by another ten minutes of them rutting like dogs.

I’m not entirely sure that what I just made there was a complaint.

Anyway, while it was a nice touch to see the typical male/female dynamics of the era (and of the genre) subverted, by having Jamie play the wet-behind-the-ears virgin to Claire’s experienced and in-control woman, it seemed ever-so-slightly gratuitous to focus on Jamie’s first ever blow-job, and even dwell on his delighted gasp and cheeky wee grin. ‘What’s this bloody show turning into now?’ I cursed at the TV. ‘Scotch Pie? Are McStiffler and McFinch about to burst in wearing lederhosen and trailing a shaved goat behind them?’

I thought about the hygiene aspect again, not to mention the lack of contraception (not even a stab at the rhythm method!). If this was real 18th-century sex, and not a fantasy-rich, heaving-bosomed, skin-bathed-in-candle-light sort of a romp, then Claire would almost certainly have emerged from her marital bed riddled with everything from ringworm to the bubonic plague. And very probably pregnant. A man and a woman only had to shake hands, sneeze or play catch with a turnip in order to fall pregnant in the 18th century. An enlightened 19th-century nurse surely would have known better than to doff her daisy at a wrangler’s dangler like that.

Sex is a funny little devil, though, isn’t it? It’s not just love, lust and longing that joins our sweating bodies together like sexual Tetris pieces. Death, despair, anguish, fear, and anger – and alcohol, too, on its own or in conjunction with one or more of the aforementioned – can make us rub our bits in places and at times and with people we might not otherwise have considered to be sensible choices.

Even though poor haunted, hunted, homesick Claire had at that point been six weeks without a ride (Hi Americans – I’m using the crude Scottish vernacular to describe a bodily act again) I’m still not fully convinced by how quickly she abandoned her scruples and plunged into a carnival of carnal abandon with Jamie.

I was expecting, and hoping for, a bit more in the way of moral posturing and feminist fury, given how headstrong Claire had been up until then. I was, however, pleased that their wedded union was brought about in an interesting and unexpected way, in a bid to frustrate, through legal means, Black Jack Randall’s move to imprison and interrogate Claire. The flashback-framed farce that told the story of the hoops the Mackenzie men had to jump through in order to facilitate the couple’s wedding at record speed was undeniably fun and funny in equal measure.

Still, can’t really grumble about the romance element kicking into gear. It’s pretty much stitched into the show’s DNA. It’d be like watching Sherlock and moaning because he kept solving crimes. At least Outlander embraces blood and brutality to balance out the Mills and Boone-esque schmaltz. The world around Claire and Jamie, with its corruption, thieving, lying and killing, does a fine job of disabusing any notions of Scotland’s romantic past that even the most swooning of viewers may have brought to the show with them. In almost every episode someone is left with a big bleeding, spurting gash cut into their body, absent an ear or an arm, or almost raped. It’s a lot like present-day Airdrie.

Ned’s great, isn’t he? It was nice to see Claire interacting with someone who was her intellectual equal, someone a bit more ‘1945’ than the rest of the rabble; a man who had loftier ambitions than to spend his days farting and fucking. And I bloody love Bill Paterson, the actor who plays him. The last time I saw Bill Paterson in something about time travel (excluding Doctor Who) he ended up bludgeoned to death by cavemen, so maybe things don’t augur too well for old Ned.

Change was the over-riding constant across these four episodes. Most of the major players went through significant changes, both in the way they saw each other, and in the way they saw themselves. The Mackenzie men moved from regarding Claire as a potential traitor or a bothersome sassenach to someone they’d happily fight, lie and die for. Claire, in turn, finally seemed to be finding a place for herself among the Mackenzies, and didn’t seem to view her time with them merely as a prelude to her next daring escape attempt. She also demonstrated that she could mulch piss with the best of them.

Ever since Claire was rescued from Randall’s rapey clutches at the end of episode one she’d viewed Dougal very much as a scary, starey, glarey bruiser of a man (good job she hasn’t seen him in AMC’s Preacher); an image he’d done little to soften by his habit of continually scowling, drinking, and talking about tits and dicks all the time. Her road-trip around the Highlands with the men as they collected rent from their tenants – coins here, a goat there – really seemed to open Claire’s eyes, both to the wider world and to Dougal’s true nature.

At first, though, she believed Dougal was even worse than she’d first imagined. She thought that he was supplementing his private income through skullduggery; using Jamie’s tale of harsh treatment and disfigurement at the hands of the English as a way to extort extra gold from the village-folks – to line his own pockets. Claire being Claire, she wasn’t content simply to think of Dougal as the 18th-century Highland equivalent of Negan from The Walking Dead, she pretty much accuses him of being a knave, an usurper and a rustler, right to his big hairy face, a move that struck me as either evidence of Claire’s skewed sense of privilege and entitlement, or an incidence of iffy writing. Given how much almost every single one of the men barring Jamie hated and mistrusted her at that point, it was nothing short of lunacy for her to take an angry, spiteful stand against Dougal.

Still, if she’d kept schtum she would never have worked out that Dougal was actually a secret freedom-fighter, raising funds to mobilise a Jacobite army to send the English homewards to think again, and to put the ‘rightful King’ back on the throne.

The following episode, ‘The Garrison Commander’, was a great episode of Outlander, but an absoutely peerless episode of ‘Come Dine With Me’. Jesus, that was tense. I think the dinner party at the end of the Texas Chainsaw Massacre was possibly a little less fraught.

I wonder if the English gentry and middle-classes ever get tired of being portrayed on screen as the world’s biggest fops and arseholes. Claire flies the flag well for England, but every other English character we meet – or have met thus far – is a blustering, vain, arrogant, unscrupulous little toad. It makes me glad to be on Team Itchy-Skirt. The world loves us, man, even if they can’t always understand us (and even if we don’t always deserve it). I liked how Dougal got a little taste of what it was to be an outlander, a stranger in a strange land, as he stood at the foot of that English dinner-table being cursed and condescended to. He took it well, for his pride’s sake, and for Claire’s.

I’d like to talk directly to Claire now. Claire? I’ve got some good news and some bad news, sweetheart. The good news is, Dougal’s now your protector and chaperone; your very own little Greyfriars Bobby. The bad news? He wants to give you his little grey bobby. (Hi Americans, I’ll pause this sentence to give you time to get back from the Urban Dictionary). This surely won’t end well.

Black Jack Randall, of course, was a surprise – and deeply unwelcome – addition to the dinner party. He too showed that he was capable of change: capable of changing into something even more monstrous than our first impressions had allowed for.

Tension and terror flood from Tobias Menzies whenever he appears on-screen as the reprehensible redcoat. He plays it just the right side of cartoonishly evil, yet still somehow manages to make Black Jack feel feel blood-curdingly authentic. It’s a pitch-perfect study in cruelty and madness. The scene where Claire sits tear-stricken at the dinner table as she listens with mounting horror to Jack’s tale of how much he enjoyed brutalising Jamie is deliciously uncomfortable to watch. I, like Claire, allowed myself to believe, just for a fleeting second, that Jack was reaching out to her in his turmoil, that he was redeemable. Like all psychopaths, though, Jack mined hope as a means to further and better torture his victims, reveling in the quiet savagery of his deception. All the more agonising and impactful when he rips the mask from his face a second time. What a fucking bastard he is.

I’m glad he’s in the show.

And poor, poor Frank (Black Jack’s great-great-great-great-erm-great-don’t-know-how-many-greats-I-should-have-here-grandson), marooned and alone back in the 1945 version of Inverness. The mid-season finale taught Frank that time, anger and desperation can send even the most civilised of men running head-long into superstition and violence. Grief, and the shadows of his ancestral self, threatened to turn him into a monster, a theme I’m sure the writers will pick up again should he ever return to the story – which of course he must. He must, right?

I’m convinced that some sort of evil twin/sci-fi swapsie scenario is going to unfold, with Black Jack escaping to 1946 Inverness and becoming a serial-killer, or Frank accidentally landing in the past and having to convince any would-be murderers that he isn’t the infamous Captain Randall.

Anyway, because it’s the mid-season finale, something suitably seismic had to happen. And thus, Claire finally reaches the stones in 1743, at the same time as Frank does in 1945. Unfortunately (or fortunately depending upon your viewpoint) instead of running into her (first) husband’s arms, she runs straight into Black Jack’s clutches.

One minor quibble. Did the closing moments of the mid-season finale really have to lean into the cliché of the damsel in distress being saved from death and indignity at the last possible moment by her muckle, gun-toting man? Ach, that’s such a 2018 thing to say. It was exciting, ye ken?

I’m all in now.

Here’s to the next four episodes. Bring on the nakedness, Outlander. Just as long as you bathe it in blood from time to time.

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Why I wanted to binge-watch Outlander

Part 1: Season 1, Eps 1 -4

Part 3: Season 1, Eps 9 – 12

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

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Part 1: Teaching your Grandfather How to Suck… Something

Wherein Claire loses her love and freedom at the touch of a stone, and people do lots of unhygienic things to each other

And so it begins.

Four episodes down, thirty-eight to go (that’s the total count at least until the fourth season begins in less than two weeks’ time).

By the time Christmas comes around I’ll either be Outlander’s biggest fan or its greatest enemy: I’ll either be leaning into my nation’s past and whomping around in a kilt asking people if they ken how wet my thrapple is, or I’ll be dressing up as a redcoat and smashing myself in my own Scottish face with a framed picture of Mel Gibson.

OK, first impressions: I can definitely tell that the show’s been made with an international audience in mind. How so? Simple. You can actually understand what the Scottish people are saying. I’m a Scotsman from the central belt of Scotland, and even I’ve wandered around places like Aberdeen, Inverness and Glasgow, thinking to myself, ‘What language are these bloody people even talking? Are they German people with severe adenoid problems? Welsh vikings? Klingons?’

Second impressions, aka Let’s talk about Jamie. I’ve spent the last few years hearing you ladies mooning, swooning, oo-ing, aah-ing, gushing and positively purring over the young lash-backed Scotsman, not to mention making some really quite worrying, and border-line criminal, sexual proclamations about him. I’m sick to death of hearing about it, and him. So, I’m here to tell you, right here and right now, ladies, that Jamie Fraser, aka your beloved Sam Heughan, aka is a… he’s a… well he’s… he’s a…

He’s a bloody dreamboat, isn’t he??

Fuck you, Sam Heughan. Fuck you! What’s worse is that, thus far, his character has proved almost impossible to dislike (the noble little whippersnapper that he is) which just makes me dislike him all the more. But of course I can’t dislike him, because he’s far too bloody likeable! I hate it when my jealousy creates a feedback-loop paradox in the space-time continuum. IT’S LEONARDO DI CAPRIO ALL OVER AGAIN!

Anyway, let’s do this.

Outlander’s opening episode, set in late 1940s Scotland, definitely did a good job of establishing character, tone and premise, although with its heavy emphasis on post-war middle-class angst, quaint drawing rooms, pantries, pastries, cups of tea, old castles and cobbled streets, I’m pretty sure that had the carrot of time-travel not been dangling in front of my face I would’ve been waving Claire and her husband Frank a fond farewell before the end credits had even finished rolling – unexpected castle-based cunnilingus scene notwithstanding.

That scene was certainly food for thought. Was the act as widely practised in the 1940s as it is today? And if it was, was it talked about openly, or did people, erm, keep their mouths shut? Was cunnilingus seen as a pleasurable part of the sexual process, or nothing more than a desecrating dose of dental deviancy? Was it perhaps even seen as a sign of male weakness?

The Sopranos’ Uncle Junior, played by Dominic Chianese

I’m reminded of a scene from the first season of The Sopranos, where elderly mafioso Uncle Junior has a strong negative reaction to the possibility of being outed as an aficionado of the fanny (Hi Americans – over here in Scotland, we refer to ladies’ bits as ‘fannies’, so just mind your Pees and Poos if you ever visit us). Junior had a very specific, and very off-kilter, reason for wanting his gift of the gab to remain a secret from his cronies. As he put it: “Because they think if you suck pussy, you’ll suck anything. It’s a sign of weakness, and possibly a sign that you’re a fanook.” That was late 1990s New Jersey, never mind 1945 Britain.

Knowing the ancient Greeks, Romans and Indians, they probably had their own cunnilingus championships, or Oral Olympics, where mighty Glad-he-ate-hers (forgive me) battled it out to determine the world’s most technically-gifted tongue-twisters, but early 20th Century Britain wasn’t exactly a bastion of sexual liberation. That stiff-upper lip would’ve been something of an impediment to, erm… I’m running out of euphemisms here… em… teaching a class in… labial linguistics? Or ‘whistling to the wheat-field’ as Tony Soprano once put it.

It’s probably fair to say that most things associated with female pleasure have been frowned upon until only very recently in human history, at least as far as ‘western’ culture goes (in some parts of the world, women can’t even show their faces, much less enjoy their own bodies, without fear of punishment). Granted, I’ve formed that opinion mainly through watching the Showtime series ‘Masters of Sex’… but I’ve little doubt that it’s accurate.

I don’t know who I could ask to clarify the matter for me in any case. My grandparents are all dead, but even if they were still alive I couldn’t imagine myself sitting down with them for a cup of tea and a Bourbon biscuit to have a frank chat about post-war fucking. “So, papa, bit of a muncher in your day, were you? Your thrapple must have been absolutely soaking in the years after the war. Oh, don’t blush, gran, I’m sure he’s even better at it now that he can take his teeth out.”

Are there any sex historians out there who could provide context to and confirmation of Outlander’s depictions of sex and sexuality? More than 1945, I’d be interested to read about the real-life sex habits of the hairy highlanders and strawberry-blonde bomb-shells of the 18th century.

I always flinch when I see characters from the olden times going at it, especially when their romps are set before the advent of modern medicine, antibiotics and Colgate. The farther back you go, the worse it gets. The breaths, boabies, boobies and foo-foos of your average Jacobite-era Scot must have smelt like a bag of dead cats decaying in a big pile of rotten hamburgers, all lovingly garnished by the boozy shits of a thousand alcoholic tramps. Which is a thought that’s going to spoil all of the many Ye Olde sex scenes I’ve doubtless got ahead of me on my long journey through time and space.

Anyway, I digress. Just ever so slightly.

The mood of the pilot episode was commendably melancholic, conveying a real sense of sadness, loss and otherworldliness. I really got the sense that Claire and Frank were a couple whose future was stuck in the past. As they drove through the highlands on their hope and history tour, the landscape around them felt empty and oppressive, a reflection of their strained relationship thrown upon a wider canvas.

The couple had come to Scotland ostensibly so that Frank could make both a personal and an academic connection with his Scottish ancestry, but this was also a desperate attempt for the couple to reconnect with each other following their separation through the war years, during which he’d served as an officer, and she as a front-line field-nurse.

There was a lot of blah blah blah, cups of tea. Blah blah blah, coy banter. And some blah blah blah, mystic mumbo jumbo. The episode had an awful lot of exposition and foreshadowing to unload, resulting in a lot of the dialogue coming across like: “My darling, I’m going to give you an incredibly detailed summary of everything that happened at this location around two hundred years ago, some of which could prove strategically important, some of which might even save your life, you know, if something were to happen like, oh I dunno – just plucking something out of the air here – say you suddenly found yourself catapulted back through time to the precise era I’m describing immediately after touching a big magical stone or something…”

And so, Claire touches the big magical stone at Craigh na dun and finds herself catapulted back through time to 1743, where she’s almost immediately raped by her husband Frank’s evil identical-ancestor, Jonathan. She then escapes into the benign-ish clutches of a gang of feral, fighting Scots, among them her star-crossed Caledonian catch-of-the-day, Jamie Fraser: the Romeo to her Juliet; the Sam to her Diane; the guy from The Only Way is Essex to her girl from Geordie Shore.

Outlander 2014

Claire exploits her husband’s knowledge of the area’s history to save her newfound hairy-arsed-friends from ambush at the hands of some English soldiers, and her own medical expertise to nurse Jamie’s wounds, which buys her some begrudged trust, and probably helps to keep her alive and un-raped. The Scotsmen take Claire back to their home and stronghold, Castle Leoch, where she’s received with as warm a welcome as a mysterious English woman who’s generally suspected to be an English spy might expect in that place and time. She isn’t imprisoned in the traditional sense of the word, but she’s the sort of guest who isn’t allowed to leave the castle or its grounds under pain of death. This makes it all a bit difficult for Claire to get back to Inverness in order to rub the mystical stone that might send her back… to the future! The narrative foundations are certainly strong and sound. Claire wants something, but there are always interesting, amusing or potentially fatal obstacles in her path.

Episodes two, three and four, then, are about Claire trying to find a place in this new world, all the while searching for an escape from it.

Enter Jamie, stage (Mr) Right. Both Claire and Jamie instantly recognise in each other qualities that make them distinct from their stations in life, and from the people around them. In a sense, they’re both people out of time, Claire in a literal sense, Jamie by virtue of his character having to hew to modern sensibilities so as not to repel and repulse the modern viewer. Even at this early stage in the story, Jamie Fraser is more progressive and feminist in his outlook than a lot of people I’ve met in real-life, modern-day Scotland.

The romance between Claire and Jamie – although it hadn’t by the end of episode four evolved beyond a bit of basic soul-allignment – is very obviously going to become integral to the story, but I’m glad that it hasn’t thus far dominated the narrative. I like that the spotlight has stayed on Claire. She’s a strong, cunning, clever and resourceful character, and I’ve enjoyed watching her use her wits, bravery and knowledge to make herself indispensable to the gang at Castle Leoch. I also admire her integrity; her unwillingness to sacrifice Jamie’s safety in pursuit of her goal, and her willingness to place herself in harm’s way to stand up for her ethics, especially in the case of the sick little boy whom she discovered had been poisoned.

That episode’s hellfire-spouting priest, Father Bain, played by the always brilliant Tim McInnerny, was a stand-out favourite character of mine. I hope I haven’t seen the last of him. Bain doesn’t seem like the kind of man to weather humiliation lightly. He’s had his power tested and bested by a science-applying English woman, and if I know my half-mad zealots, he’ll be back for some holy vengeance.

Final thoughts? I think it’s safe to say that I’ve emerged from Outlander’s first four episodes entertained, intrigued and genuinely invested in Claire’s journey. I look forward to her continued attempts to manipulate and exasperate the Laird with the Limp, and his scowling brother, McTavish (I’m guessing that Claire and big McTavish are going to become besties before long).

Here’s to the future. Well, the past I suppose.

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Part 2: Season 1, Eps 5 -8

Part 3: Season 1, Eps 9 – 12

Why I wanted to binge Outlander

Bingeing Outlander: Back to the Bygones

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I’ve resisted the call to watch Outlander for a very long time, mainly, I guess, because I assumed it would be the kind of lovey-dovey, over-enunciated, hammily-acted, costumed codswallop that’s had me almost breaking my thumb off against the buttons on TV remotes since I was a child. Upstairs Downstairs? Neither, thanks. Pride and Prejudice? Well, I take great pride in my prejudice against Jane Austen adaptations, if that’s what you mean. Downton Abbey? I’ll tell you what would make me ‘abbey’: chucking the TV out of the window before this horse-shit starts.

Still, I swithered. And kept swithering. I was intrigued. Yes, I strongly suspected that the greater part of Outlander would be a sickening, will-they-won’t-they, come-on-of-course-they-bloody-will, swash-buckling romance with a heavy emphasis on deep sighs of longing and forlorn staring that would have me rolling my eyes like a faulty fruit-machine, but there was also the promise of time travel, and if there’s any type of movie or TV show for which I’m a sucker it’s a fish-out-of-water time-travel story. That’s the element that wore me down and won me over.

It’s a long list, but my all-time time-travelling favourites are Bill and Ted, the story of two men – I forget their names – who travel through history kidnapping the great, the good and the ghastly to help them pass a high-school history exam; The Time Bandits, the story of a gang of dwarves on the run from God who kidnap a little boy and take him on time-trotting adventures through fissures in the fabric of reality; Doctor Who, the story of a time-travelling alien who, em… kidnaps… a series of men and women from throughout history and takes them on insanely dangerous adventures across time-and-space; and Army of Darkness, the story of Ash Williams, a former S-Mart employee, who is kind-of… well, em… kidnapped, I suppose… (Wait a minute… is it time travelling I love…or kidnapping?? Probably best not to look too deeply into that one) by Deadites, and hurtled through a portal in time that drops him into the magic-and-evil-infested Middle Ages. Hell, if we’re talking time-travelling adventures, I even loved Goodnight Sweetheart, even though in retrospect it was about as funny as having your teeth kicked out by a donkey.

And, of course, the Back to the Future trilogy goes without saying.

But it wasn’t just the time travel that tempted me. There was also the promise of the familiar; the local gone global. I live quite close to most of the locations in which they’ve filmed – and continue to film – significant chunks of the show, and it’s nice to see your part of the country being the centre of attention for a change. The vast majority of the movies and TV shows I’ve watched throughout my life have been filmed in either the US or Canada, two places I’ve never visited, a fact that has denied me the opportunity to turn excitedly to my family half-way through a 90s action movie and say: ‘Ooooh, see that shop they’re fighting outside in that scene? I bought a fanny-pack in there when I was on holiday with your Aunty Jean’. Thanks to the bulk of Outlander being filmed within a fifty-mile-radius of my home, I recognised my chance finally to join in.

I’m not just familiar with many of Outlander’s filming locations; I’m intimately familiar with them. They’re a part of my life and history: Culross Palace and its gardens; Muiravonside Country Park; Callendar Park; Linlithgow Palace – they’ve even filmed scenes in the park in Polmont, just a few minutes’ drive up the road from me, where we still take our sons to run, explore and play.

So screw you, New York, New York, I thought to myself. It was Scotland’s turn: my turn. I looked forward to pointing at the screen and saying things like: ‘Oooh, I stood on some dog-shit there last week, right there, where that man’s having his head chopped off by an axe,’ and ‘Oooooh, I had my first date there, right next to that tree where that man’s being raped.’

I guess – being Scottish myself – that the production’s Scottishness was also a powerful draw. When you learn that an American authoress and an American production company have teamed up to create something they claim is a plausible swords-and-shagging epic set in the murky, murderous past of your own ancestral culture, you want to check up on its quality and authenticity. You want to know if it’s going to be stirring and emotionally affecting, like Braveheart, or full of screamingly ridiculous historical impossibilities and utter bullshit, also like Braveheart.

And you want to make sure that you and your people aren’t being unceremoniously ‘Groundskeeper Willied’. Scottish people have a long history of being portrayed on screen as any number of condescending or insulting stereotypes, from noble savages, to quirky old mystics brimming over with folk-tales and old-wifey-wisdom, to drunks, druggies, madmen and wash-women. It’s heart-breaking that some of the most authentically Scottish characters ever committed to the big screen are in Trainspotting. Was Outlander going to do us Scots proud, or was it going to offer up yet another round of tartan-box kitsch, craven historical inaccuracies or poverty-porn pish?

Well, folks, it’s time to find out for myself.

Over the next few weeks – up until the soon-to-be-aired fourth season’s mid-season finale on December the 9th – I’m going to be bingeing my way through the series to date, and giving my thoughts on the drama as it unfolds, in little easy-to-digest 3-5 episode chunks. Who knows? Some of these thoughts might even be insightful and provocative, but I wouldn’t hold out too much hope for that.

In any case, I hope you’ll join me on my binge. Whether I end up loving or loathing Outlander, you can be sure of one thing: we’re going to have fun together.

I hope we will anyway…

Maybe.

Binge Diary 1 coming on Wednesday the 24th.

BEGIN THE BINGE HERE

Civil War on The Walking Dead: Crock or Cracker?

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The Walking Dead has been with us for so long that it’s hard to remember a time when zombies weren’t staggering, swiping and shambling their way through the TV schedules.

Robert Kirkman’s and AMC’s success allowed zombies to eat their way into the TV mainstream. The Walking Dead naturally spawned would-be rivals, masses of imitators and latterly a child of its own, while simultaneously emboldening producers and networks to green-light ever-quirkier spins on the undead phenomenon.

But – much like its titular ambulatory corpses – the longer The Walking Dead has remained in motion, the more thoroughly the rot has set in.

Over the years, as the characters in the show quickly became inured to, even bored of, the zombies, so too did the audience. When the show tried to counter this slackening of grip upon the audience’s attention by sidelining the zombies and positioning mankind itself as the series’ major threat and obstacle, people said they were bored, and demanded more zombies.

Let’s call that a Scratch-22.

Of course, the blame doesn’t rest solely with the poor, put-upon zombies or the audience’s fickle nature. The show undeniably suffered when it shifted focus away from its core unit of characters to service a multitude of old and new faces across multiple locations. It’s a narrative balancing act that Game of Thrones handles with aplomb, but which The Walking Dead has always struggled to pull off without dropping threads, circumventing reality or stalling momentum – sometimes all three at once.

Over the last handful of seasons The Walking Dead’s characters, even those like Carol whom the show has occasionally serviced very well, have started to feel less like actual people with their own drives, wants, needs, vulnerabilities, and complex motivations, and more like walking plot-putty, there to be moulded to fit whatever shape best suits the story.

So earlier this year, when the closing moments of The Walking Dead’s eighth season appeared to be setting up a civil war between Maggie and Daryl on the one side, and Rick and Michonne on the other, I baulked.

Maggie’s grief and Daryl’s pride may be incredibly powerful forces, but were they really strong enough to over-ride everything that the core group had suffered through together? Somehow, it didn’t ring true. I wrote it off as yet another narrative sleight-of-hand designed to magically generate conflict out of thin air, at the eleventh hour, again at the expense of character.

While season eight was a vast improvement upon the plodding, tepid and occasionally ridiculous season seven, for the first time ever I found that I wasn’t excited about – or even really that interested in – the prospect of The Walking Dead’s return.

But then I started thinking about it.

Really thinking about it: the season; where the show was heading; where it had come from. Everything. I felt I owed The Walking Dead a degree of analysis and introspection before I cast it aside. If only for old times’ sake.

Eventually, I came to the conclusion that two things had happened/were happening inside my head:

One: I’d performed a nuance-ectomy upon the show, and reduced the two-seasons-long conflict to a classic ‘The forces of good triumph over the forces of evil’ narrative, a la Return of the Jedi, or a children’s fairy-tale (you might argue that the two aren’t mutually exclusive).

The baddies are vanquished, the goodies cheer, and everyone moves on to have a happy, hassle-free time. Cartoonish, yet undeniably cathartic. Obviously, framing the story in this way leaves no room for ambiguity or the possibility of future struggles along ideological fault-lines.

Two: while the show has certainly dipped in terms of quality and consistency over recent years, maybe over-exposure to the critical consensus was prejudicing my enjoyment; perhaps by expecting disappointment at every turn, I was actually inviting it. Was the bitter cocktail of cynicism and apathy that burbled in my gut as I watched latter-day seasons of The Walking Dead preventing me from giving the show-runners and the writers the benefit of the doubt?

While I stopped far short of venturing into ‘It’s not you, it’s me’ territory, I’d convinced myself that it was time to cut The Walking Dead a break. I let the ebbs, flows, highs and lows of season eight continue to tumble and percolate inside my brain; I held everything in there until the jumble made sense; or at least until it made more sense.

I still felt that the plot seeds leading up to the impending civil war had been peppered rather too clumsily throughout the eighth season, but I was beginning to see how (and why) betrayal, and its bedfellow war, might erupt around Negan’s prison-cell in the wake of the territory’s uncertain and unexpected freedom.

The process of interrogating history helped give an anchor to my thoughts; history helped not only to illuminate the fractured and ever-fracturing tribal loyalties of the post-Negan apocalypse, but also to give a rich and fruitful context to the show’s evolution from ‘Days Gone Bye’ to ‘Wrath’.

By drawing on some of the defining epochs of human civilisation I was able to re-frame and re-interpret the world of The Walking Dead, and in the process ignite some excitement for the ruckus (or should that be Rickus?) to come.

In the end, the beginning; in the beginning, the end

While it’s true that people in the West today are generally less inclined towards violent protest when times are tough or rulers are corrupt (except for the French, who would gladly burn the country to the ground rather than allow the passing of even one mildly disagreeable traffic bye-law) this shift can’t solely be attributed to our new-found civility.

There’s also the matter of our (comparative) richness, in both time and wealth, and access to a wider range of leisure pursuits and luxury goods than at any other point in our history. And, perhaps most crucially, the sheer might of the state which, thanks to the development of ever-more destructive and invasive technologies, has never had so much deadly power at its disposal.

If a group of angry artists and artisans tried to take a leaf out of Robespierre’s book and rush towards 10 Downing Street with rakes and rifles held aloft they’d be a puddle of blood on the street before the first of them managed to get within spitting distance of the rather bored-looking policeman guarding the front door.

If by some miracle they managed to break into the building unchallenged, it wouldn’t be long before tanks rolled down the street. Before they rolled down every street in the city.

This highlights one of the main reasons that The Walking Dead has always been so enduring and intriguing: it takes all of that away – states, nations, bureaus, satellites, nuclear weapons, stock-piled wealth, an inter-connected planet – and levels the playing field again.

The show allows us to travel back to a more violent and uncertain age, and show us what might have happened at various critical junctures of human development if we’d had access to modern weapons, vehicles and modes of thought.

The Walking Dead essentially forces a hard-reboot upon the human race, and then re-runs key events in the evolution of human society on a hyper-accelerated timescale.

When Rick wakes up in the hospital in ‘Days Gone Bye’ he’s a man taking his first steps upright in a new and terrible world, with only one rule: survive. Rick is early man, charting an alien environment with a million hungry mouths waiting round every corner.

In the early days of the show the members of Rick’s group huddle together in the darkness, terrified of the horror and death that surrounds them on the fringes.

Over time their suffering teaches them the tricks and tools they need to survive. They drift across the landscape as nomads, wanderers, hunter-gatherers, but as they become faster, braver and bolder they form tribes. They meet other tribes, but only in battle. They rise, they fall, they rise again, each time stronger than they were before.

As their dreams get bigger, so too does the world around them and their place within it. Before long, they’re sending emissaries and quasi-diplomats to other colonies and proto-nations to trade goods, ideas and arms; their ingenuity, adaptability and resolve bring them stability, which in turn allows them to talk about things like the future, families and farming; and debate concepts like freedom, justice and worth, instead of constantly fretting and obsessing about the mere fact of survival.

In the short space of (in-show) time between season one and season nine the new human race has crawled from the swamp, got to its feet and rushed headlong into its first ideological conflict: its first war. It’s raw progress, but it’s progress none-the-less.

It’s tempting to view the conflict that follows the arrival of the Saviours through the prism of the American Civil War: to imagine the Alexandrian north taking up arms against the Saviours in the south, to oppose and destroy the forces of slavery and corruption. To my mind, though, the French Revolution is a much better fit, because the battle between Rick and Negan is really, at its heart, a battle between democracy and dictatorship; a showdown between the downtrodden masses and their King.

Hail to the King, Baby

Supporters of the UK’s monarchy see in the Queen and her sprawling web of dependents a reflection of everything that is refined, restrained, civilised and genteel in the world (with the possible exception of Fergie), overlooking the fact that in a different time Queen Elizabeth would almost certainly have played football with the axed heads of her political enemies.

Status of this magnitude isn’t bestowed upon ordinary men and women as a reward for good manners or having impeccable taste in cardigans. Whatever may sustain or shape power once its attained, it’s nearly always taken. The truth is that all bloodlines must have begun with one male realising he had greater strength and better resources than all of the other males in his territory, and deciding to use that imbalance as a basis to establish dominance over everyone and everything else. There’s nothing noble or worthy about that. It’s disgusting, immoral, and sadly all-too-universal.

Negan, of course, is the show’s true King, in deed if not in name. While Ezekiel is a show-man and a politician, Negan is a tyrant who rules with a switching mixture of vanity, brutality and cruelty; a righteous cloak of benevolence billowing around his bloodied bat that’s invisible to all but him. Like other famous sociopaths – Manson, Hitler, Thanos – Negan is all the more chilling for believing himself the good guy.

If The Walking Dead has any enduring theme beyond ‘Ha ha! Life’s a bitch!’ it probably lies somewhere in the ethics and limits of killing and survival.

Most would-be revolutionaries in our world – save for the most impassioned and anarchic – try to respect the rule of law. They want change, but they won’t turn their backs on civilisation in order to get it. They’ll wave banners, sign petitions, sing songs, set up websites, organise media interviews and try to cause minimal disruption to traffic (think of them as Dale, Hershel or early season 4 Rick). What they probably won’t do is storm parliament and summarily execute the entire cabinet. I guess the reasoning goes that if you have to become a barbarian in order to effect positive change, then the change might not be worth it.

Except that France, and arguably most of Europe, might still be ruled by the unclenching fist of absolute monarchy if not for a bit of storming, burning, rioting, beheading and massacring back in the eighteenth century.

The Walking Dead makes the dichotomy between war and peace its stock-in-trade. OK, Rick, we get that Negan is a murderous oppressor, but does that really make it okay for you to run people over with your car in cold blood, or stab scores of people to death in their beds? OK, Morgan, killing people probably does lead to madness and disgrace, but is it a good idea to abstain from it when someone’s running towards your best pal with a steak knife? Same question to you, King Ezekiel. Should you appease a maniac when your own people might eventually starve?

In the end, Rick led and won his revolution against The Walking Dead’s ruling class, but in contrast to this revolution’s real-life ‘inspiration’, the King escaped with his head. The decision to let Negan live may well have put a target and a ticking clock above Rick’s head.

The architects of the French Revolution achieved a feat that no-one thought possible, the aftershocks of which are still felt today. Their revolution helped to spread democratic ideas around the globe, and provided direct inspiration for the American Revolution.

Did they revel in this spectacular, epoch-altering achievement? Did they all join hands and whoop and cheer like the crowds at the end of Return of the Jedi, their friendships and alliances stronger than ever, their fates and spirits bonded for eternity?

No. No they did not.

They’re human, after all.

They all died, pretty much to a man and a woman. And mostly at each other’s hands, through a combination of paranoia, mistrust, skullduggery and cruelty. They tore each other apart on points of principle, for things they did leading up to and during the revolution, and for the things they envisioned for the future. Ironically, some of them were put to death for being considered too blood-thirsty.

Liberty? Equality? Fraternity?

Betrayal. Murder. Death.

The Walking Dead has demonstrated that it’s ready to give us a war that will finally make us feel something. Not a war between goodies and baddies, but a war between friends and allies, sisters and brothers. Maggie’s and Daryl’s hateful sneers in the closing moments of season eight now seem all the more explicable, not to mention auspicious.

The end of season eight now feels like a new beginning, a chance for the show to evolve again and … possibly… hopefully… endure. Especially now that the show is beginning to detach itself from the canon of the comics.

So what happens next?

Will the post-Negan era usher in freedom or pave the way for wholesale destruction? How will the differences between and within the disparate groups be reconciled? Can humanity get it right this time, or will utopia always remain a pipe-dream? Will the cycle of death and revenge and greed and violence simply repeat itself, ad infinitum, until the end of time itself, in the manner posited by Battle Star Galactica? Will we forget all about the zombies? (Or will we meet something that isn’t quite zombie and isn’t quite human? Shhhh. Keep that to a whisper.)

But do you know what?

When I really start to think about it…

I’m looking forward to finding out.

The 5 Worst TV Shows of 2017

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I watched a lot of TV shows in 2017, a fair dollop of them crap, but none so utterly, irredeemably crap as the five failures below.

PRISON BREAK

The first season of Prison Break was truly great TV: fun, funny, shocking, silly, suspenseful, tense, exciting and beautifully, insanely ridiculous. But it never should’ve lasted beyond those first 22 episodes, much less another 4 seasons, a mini-movie and a revival season.

Was there anyone in the entire world who was actually looking forward to this revival, or who expected it to be anything other than a giant bowl of sick-whisked dog shit? I can understand wanting to watch this new ‘mini-event series’ out of morbid curiosity, or because you relish the prospect of picking it to pieces as you sort of half-watch-it, half-browse-for-stuff-on-Ebay, but surely only a die-hard fanatic of the first order, or a victim of failed brain surgery, would anticipate new Prison Break with any sense of relish.

My expectations started low – we’re talking sub-basement-level flat in Hell’s deepest underground multi-storey – and still they were unmet. Prison Break is a show where anything can, and does, happen, so ultimately nothing matters.This is a show where being electrocuted to death and having your head chopped off is no barrier to a return. It just requires waiting for the right preposterous, credibility-stretching conspiracy to come along.

Don’t get me wrong: the show’s bat-shit crazy, devil-may-care, fast-moving, twisty-turny-ness was one of its greatest and most entertaining assets in the beginning, but now it just feels tired and forced and lazy and formulaic. Plus, it’s more painfully obvious than ever before that the two brothers can’t really act for shit. Lincoln spends this season lumbering around the Middle East with all the grace and charisma of a zombie oak tree, while Ed Kemper is probably more effective at emoting than Michael (and I mean Ed Kemper as he is now). The prison break is boring and short-lived; the secondary characters hollow and unconvincing; the villains one step below panto; the Yemeni setting poorly realised and possibly border-line racist; and the various twists even more maddeningly preposterous than usual.

From the moment Lincoln survived being smashed through a windshield at top speed, to T-Bag’s unemotional ’emotional’ moment with his dying son, I sat completely and utterly spellbound – by my own fingernails. I kept wondering how long it would take to scratch my own eyes out with them.

Oh, and on a closing note, writing and production team: good work on the big showdown and shoot-out at a Yemeni train station: you know, Yemen?… The country that DOESN’T HAVE ANY FUCKING TRAINS.

Read my article about Prison Break seasons 1-4 HERE that was published by Den of Geek in 2013.

POWERLESS

Powerless boasted strong production values, a talented cast (most notably Danny Pudi of Community-fame) and an absolutely on-point, almost perfect title sequence – all of which was ultimately completely useless, because whatever else Powerless had or was, it simply wasn’t funny. And ‘funny’ is a pretty essential component when you’re making a comedy series. It was cancelled after only 9 episodes of the first season had aired.

I guess there have been a lot worse shows than Powerless, but it’s a tragedy that what could’ve been a zany, fresh and inventive comedy looking at life through the lens of a bunch of regular Joes in a WayneTech subsidiary working to protect the little guy from the constant battles between superheroes and supervillains became instead a lacklustre, generic workplace comedy that struggled to conjure up more than a handful laughs (tiny, breathy ones at that) and a smattering of smiles (flat, joyless ones, too).

Still, while the 9 episodes I watched were undoubtedly shite, maybe the show could’ve grown into something special given more of a chance. Shame on you, Powerless. But shame on you, too, American network television.

RED DWARF

The twelve-year-old me who spent his days regurgitating Red Dwarf’s catch-phrases and impersonating its characters would be very angry with fat, hairy thirty-seven-year-old me for placing Red Dwarf on this list, but never mind: I’m reasonably sure I could take twelve-year-old-me in a fight.

It’s fair to say that Red Dwarf has had a wildly uneven hit-rate in recent years; from the mild disappointment of its sheeny-shiny, oh-so-cinematic seventh season, to the post-lobotomy lock-down of its lads-and-lager eighth season; from the abominable Back to Earth, to the show’s present incarnation as a darling of Dave, the show has never quite made the case for its own cancellation, but neither has it given much cause for unbridled celebration.

That’s not to say that latter-day Dwarf has lacked classic episodes – there have been some triumphantly funny episodes, even in the midst of the most middling of seasons – but that still only adds up to 6 truly great episodes out of 31. You wouldn’t be happy to get a score of 6 out of 31 in a test, unless it was a test to see how attractive Kevin Spacey found you on a scale of one to 31. Still, despite the show’s somewhat scatter-gun run since the late 90s I felt weirdly, unfathomably optimistic about season XII. I should’ve known better, or at least lowered my expectations.

While the first episode and the last two episodes of the season were pretty good (or at least ‘good enough’), the third episode – Timewave – was so embarrassingly, blood-curdlingly awful that it made me want to remove all traces of Red Dwarf from my memories with a rusty axe.

Rob Grant’s pointless and puerile attempt to reflect the current political climate by placing the crew on a ship where all criticism was outlawed was the unfunniest thing since… well, since nothing. It’s literally the unfunniest thing that’s ever been produced, and that includes genocide and Mrs Brown’s Boys. It’s the single worst episode of any show I’ve watched this year, and quite possibly the worst thing I’ve ever seen in my entire life, and that includes granny porn.

Timewave effortlessly earns Red Dwarf its slot in the top five. It’s so bad it’ll keep Red Dwarf on this list every year for the next ten years, even if it never returns to air.

Read my honest and optimistic look-ahead to Red Dwarf series XII HERE that was published by Den of Geek in 2017.

THE WALKING DEAD

Never before has all-out warfare been so mercilessly, miserably, unforgivably dull. The Walking Dead has been shedding healthy flesh at an alarming rate since the beginning of its sixth season, and now shambles twice-yearly into our schedules a rotted husk of its former reassuringly-gory glory. While even in its younger, better days it was never in the same league as shows like The Sopranos, Mad Men, or The Wire, The Walking Dead was at least exciting and emotionally resonant, and capable of turning out some truly powerful, haunting or barn-storming episodes. Season 8, thus far, has been full of action, but devoid of feeling and substance.

Rick is an infuriatingly inconsistent protagonist at the helm of an infuriatingly inconsistent show. Well, perhaps it’s not infuriatingly inconsistent anymore, because use of the word ‘infuriating’ would signify that I still cared about the content or direction of the show. And I don’t. I really, really don’t. Negan is a crushing bore of a bad guy (mishandled and miscast); the Saviours/war narrative continues to unfold without any concessions to logic, sense, physics or geography; the (Poor Man’s Mad Max) People of the Trash Pile are too dull to be kitsch, and too fucking ridiculous to be a credible threat; and there are too many characters on the show, especially when they’re all so thinly-sketched and bent so easily to the will of the plot. Game of Thrones gets away with having eight billion characters, because it’s a very well-written show and as a consequence its characters are deep, well-rounded and interesting.

I used to care about the show, I really did, but now I wouldn’t care if Carol and Daryl formed a Romeo-and-Juliet-style death pact and shot each other through the head, at the same time as Negan sewed Rick’s severed zombie head onto the neck of Ezekiel’s dead tiger. I didn’t even care about Ezekiel’s tiger, and I’m usually a sucker for animals in on-screen peril. And I certainly didn’t care when it was revealed that Karl had been bitten. Actually, that’s not strictly true. I did care, but only because I’m pretty sure he isn’t going to die, and I really, really wanted him to. In summary, then, let the tiger die. Let them all die. Let the zombies come back to life so they can all die again, too. The Walking Dead’s a dead show walking, and I wish they’d pull the plug so I wouldn’t have to keep watching the bloody thing, masochist that I am.

Read my own blog posts about a) Negan himself HERE, and b) season 7 of The Walking Dead HERE.

And my article about the decline of the show HERE published by Den of Geek in 2017.

THE MIST

Hey, it’s the beautiful, elven-looking woman from Vikings, and Clay Davis from The Wire; you know, the one who says ‘shhheeeeeeiiiiiiiittttttttt’ all the time. And Frances Conroy, of Six Feet Under and American Horror Story fame! Oh, and it’s a Stephen King adaptation; an adaptation of an adaptation, I may add, of a film of which I’m rather fond. Mist, monsters, madness, religious mania, a good old-fashioned struggle for survival: what could possibly go wrong?

Well… everything, in fact. Everything. Not even the massive foghorning beasts that lumber from the mist in the cinematic The Mist could rival the horror of this now-mercifully-cancelled misfire (and I mean ‘horror’ in its most pejorative sense here; I’ve just realised that ‘horror’ can serve as a compliment when discussing actual works of horror. There’s no compliment here, believe me). Most of what emerges from the mist in this adaptation comes in the form of hallucinatory supernatural visions , which – a few notably bat-shit moments aside – get incredibly boring almost instantly. Whilst a great deal of the action unfolds in the local mall (the short story and the movie were set almost entirely in a mid-sized supermarket) the series loses vital focus and tension by spreading its characters out across the town. I understand that having a bunch of characters rushing to a focal point for a big, meaty finale, especially when some of those separated characters hold different pieces of an explosive secret, can be thrilling to watch, but not if the writing and the acting has never moved you to care about any of the characters.

The ‘plot’, such as it is, is redolent of those post-watershed, too-hot-for-TV episodes that British soap operas occasionally indulge in, complete with sketchy characters you can’t seem to bring yourself to give a fuck about, heaped servings of am-dram histrionics, and narrative contrivances powerful enough to make your eyes roll back in your head like jackpotted Vegas slot machines. In the end, The Mist is just a bunch of people chasing each other down smoky corridors with spades, or being pursued by duff CGI, as you check the clock every 90 seconds, wondering why you aren’t doing something more worthwhile with your free time, like cheese-grating all the skin off of your face and feeding it to your cat.

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Twelve things I’ve learned being a Dad to two under four (PART 2)

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Thank you for returning to read the rest of my far from comprehensive, barely instructional list of twelve things I’ve learned so far as a parent. May it strike a chord, or make you feel smug and superior, you hubris-filled wanker. Either way, I hope you enjoy it. You can read PART 1 here.

5.) TV is your friend

Don’t listen to the snobs: your TV is as much a part of the family as the grandparents, or that funny uncle with the twitch. My partner and I vowed never to use the TV as a live-in babysitter or a motivational tool, and largely we’ve observed this vow. We’re careful to offset time spent in front of the TV with oodles of outdoor larks, jigsaws, puzzles, pretend play, books and tickle-fights. But sometimes… Just sometimes. Some days. TV may very well rot your children’s brains, but the brain-rotting skills of children themselves are unmatched and exemplary, so in this dirty war no weapon is out of bounds. I’ll be honest, if it wasn’t for the TV I’d probably have immolated myself by now.

6.) Don’t sweat the swearing

I don’t care what the Preachy McTutters of this world say: a swearing kid is a fucking hilarious kid. Naturally we don’t deliberately teach our three-year-old swear words. We don’t create Venn diagrams to show him the full galaxy of obscenities at his disposal, or give formal lessons every weekday morning. ‘Now, Jack, I want you to say it again, but this time I want to hear you enunciate the consonants like we practised. Ki…ki… ki… Ku… ku… ku… kun…kun…kun…. That’s it, you can do it!’

You simply don’t realise how much you profane as a matter of course until you’re sharing your home with a kid or two. Don’t get me wrong, over the years we’ve tried to shrink our pool of bad words (removing an em eff here, a cee there) and reduce the frequency of our swearing, and on the whole we’ve been successful in our efforts, but a one hundred per cent standard is impossible to attain: as long as there are frights, stubbed toes, dropped plates, inconsiderate drivers and sudden swirls of anger there will always be ‘bloody bastards’, ‘shitting buggers’ and ‘Are you fuuuuuuuuuuuuuuuuuuuckkking kiiiidddddddddding meeeeeeeeeeeeeeeeeeeeeeeeees’.

A friend of mine recently told me that she and her husband had been aghast to hear their three-year-old daughter saying ‘Oh my God!’ As I listened, I had a flashback to all of the times our Jack has blasphemed, bee’d, essed and effed, all of which were entirely and inescapably my fault. I’ve heard him affectionately refer to a playmate as ‘a wee bugger’; I’ve watched him dancing around the toilet chanting ‘Shit! Shit! Shit! Shit! Shit!’ like some demented shaman; I’ve seen him sneering a swear through one side of his mouth in the same manner and voice as a 1950s Italian-American Godfather, even shaking his little fist: ‘Sunnnnnn of a bitch!’; I’ve watched him lightly slap his own forehead and cry out ‘Oh fuck’. It’s like some horrendous version of Blankety Blank sometimes. “OK, here’s your next one. The guy tailgating me is a blanking blank?” “He’s a f….” “Nooooooooooo!”

In saying that, he’s seldom swore the same swear twice, largely because we react to each utterance with calm neutrality, gently re-directing his words down a different path without giving the no-no words any sense of power by confirming their taboo status.

Some examples:

“Yes, you can say (x), but it would be better to say (y) instead. Yes, maybe next time we’ll just say (y)”

or

“No, I didn’t say that, darling, you must’ve misheard. I said ‘rubber trucking other cuffer‘. What does it mean?… I’ve no fucking idea, son.”

7.) People lie about their kids.

Nobody talks up the beautiful, life-affirming aspects of parenthood. All parents-to-be are given the same bleak and nightmarish pep-talk: “You’re having a baby? Oh, you poor bastard! Forget sleep. Forget sex. You’ll be up to your knees in shit and piss. You’ll be so tired you’ll start hallucinating sentient raisins. You’ll be stressed out. You’ll probably start serial killing frogs, and using your head as a hammer to smash down play-parks. Your left leg will turn into an eighteenth century courtesan and start trying to marry people. Your right leg will fall off. You’ll shrink by five feet. Your eyes will explode. You’ll think you’re an owl. Seriously, I’m not kidding around here, my cousin was a dad for one day and he set fire to himself and tried to ram-raid a church. With a bison. I’m telling you; you might as well just kill yourself now, save the trouble. That’s how awful kids are.”

And then once your kids are a bouncing, bawling reality, and you’re asked the questions: ‘How are things at home?/How’s life as a parent?/how is/are the kid(s)?’ you lie then, too. Maybe you’ve just been sat at home cuddling your kids while watching a movie, or joyously laughing at their inspired silliness, or moved to tears by their innocence and sense of wonder, but you’ll always say something like: “Those bloody kids will be the death of me!”

8.) Bye, bye, sex life

Scheduling amorous activity with your partner when you’ve got children is difficult; scheduling it when you share a bed with your kids (the baby sleeps in an adjoined extension, our toddler usually sneaks in beside us at some point through the night) is nigh on impossible. The very fact that you have to ‘schedule’ at all is a bitter pill to swallow (a pill to swallow? Christ, there’s a Freudian slip). Sex isn’t an activity that lends itself well to scheduling or good time management skills, although as I’m writing this sentence I’m remembering a little something called ‘the entire sex industry’ that rather depends upon both of those things for its growth and survival, so I guess I’ll rephrase and refocus my argument somewhat: good time management and awesome scheduling skills may be useful, but they sure as shit never made anything sexier. Sex in the home between two partners should be sexy, urgent, primal, spontaneous, and not boring and clinical like making an appointment to see your bank manager (if you’re currently banging your bank manager, please feel free to imagine a different analogy).

The ideal scenario is for both kids to be fast asleep, and for us to slink silently from the bed and into the hall downstairs, to commence the world’s quietest bout of passion, like two mime artists make-believing a normal sex-life. If we make it to the living room we’re in for a riot of locked-knees, cold bums, burnt bums and stiff necks. We still have to be savagely quiet, but if there’s an accidental scream at this point it’s usually because we’ve stained the couch we’re still bloody paying for.

Wherever the venue, time is very much of the essence; because we’re both aware that we could be interrupted at any second, our coupling becomes less like a spontaneous act of love and more like two people desperately trying to beat their record on the mechanical bull. Never matter. I’ve always excelled at getting it done quickly.

For a longer consideration of the deleterious effects of children on your sex life, click here.

Click on PART 1 for the first four 12 things.

The Doctor Falls: A Haunting Look at Love, Loss, Death and Hope

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Doctor Who is, and always has been, a family drama, so in theory it should be palatable and accessible to all points of the age spectrum at all times; in practice it’s always oscillated wildly between the worlds of childhood and adulthood. There are some episodes a little too silly or garish for my tastes, but which my son adores. Equally, there are episodes I consider mature, thought-provoking and insightful that my son considers confusing, boring or terrifying, or sometimes all three at once.

The show’s tone can change between and within seasons, and sometimes even within episodes themselves. From its inception the show’s been on a tone rollercoaster: from the stern and semi-educational stylings of William Hartnell’s grandfatherly doctor, to the karate-chop hijinks of Jon Pertwee, to the Mary Whitehouse-bating body horror and gothic grizzliness of Tom Baker’s early years, to the girny slapstick buffoonery  of Sylvester McCoy’s maiden season, to the multi-layered, sometimes senselessly intricate and confusing pseudo-nonsense of Steven Moffat’s stewardship.

Season 10 of Doctor Who (or season 37 if you’re that way inclined), its most recent, has grappled so ferociously and frequently with love, loss and the haunting spectre of death that it’s hard to imagine the gooey cuteness of the Adipose, Pex of Paradise Towers or the farty menace of the Slitheen existing in the same universe. While the show has also never been funnier – the impromptu appearance of the Pope in Bill’s living room being an especial highlight this season – Capaldi’s impending departure has cast a death-shaped shadow over the season that’s introduced a heavy, inescapable note of sadness to the show. If this sounds like a criticism, it most definitely isn’t. The marriage of mirth and melancholy has been a godsend for the show, as has the marriage of Peter Capaldi and Pearl Mackie, who have been uniformly excellent together. And let’s not forget Matt Lucas, who was an incredibly pleasant surprise – almost a revelation – as Nardole.

Steven Moffat is occasionally guilty of over-loading his narrative, throwing more elements and novelties into a story than its structure can bear, until the episode collapses in on itself, or disappears through a wormhole up its own arse. ‘The Doctor Falls’, however, was pretty much perfect in terms of pacing, mood, dialogue, plot, emotion, the loops and links within the double-episode finale and to the series’ own past, and the deft handling of some of Doctor Who’s most iconic monsters and villains. The Doctor Falls – haunting and affecting; immersed in hope, horror, sadness and goodbyes, and all draped in the cold white of death – was a fitting swan-song for Bill and Nardole, and a somberly satisfying sort-of send-off for both the twelfth doctor and Steven Moffat himself.

David Tennant’s pre-regenerative parting plea – ‘I don’t want to go’ – is regarded with a sneer by a vocal minority of fans, who consider it a particularly egregious example of Russell T Davies’ over-fondness for schmaltz and sentimentality. The Doctor would never behave like that, they snipe. He never greeted any of his previous regenerations in such a spirit of whiny arrogance before.  It’s not death, just change.

But it is a death. How could it be anything other? When we move towns, countries or houses, when we leave school, get divorced, become parents or start a new job, our changing brains and circles (of both friends and influence) and circumstances and stances and outlooks change so drastically – albeit slowly over time and not finger-click quick like a regeneration – that the new people we become are almost entirely disparate entities, with perhaps only a tangential connection to our ‘true’ or ‘original’ self. We break with our pasts, our youths, our lives, in a dance of perpetual reinvention. Imagine how we would feel if we routinely changed our entire body: face, physiology, biochemistry, height, weight, age (gender?), everything. Who would ‘we’ be?

Moffat managed to make the Doctor’s impending regeneration feel like the most final of goodbyes, despite the fact that we all know it isn’t. His handling of both the Doctor and the Master/Missy really hammered home the point that each new version of these characters is so distinct from the others as to be wholly separate beings. The Twelfth Doctor has moved away from the exquisite alienness of his first few years to embrace a deeply earnest sense of humanity and kindness. Missy found redemption, of sorts, through death at the hands of her previous incarnation. With that in mind, it makes sense to arrive at the conclusion that if Time Lords can counter their core instincts, if regeneration can favour revolution over evolution, then each regeneration is certainly a death. But the final message needn’t be fatalistic. Perhaps the feeling we should take away from the finale is that the power, and hope, of change resides in all of us.

The Doctor Falls lends legitimacy to Tennant’s farewell, and adds a greater poignancy and sadness to Capaldi’s upcoming exit, an exit I’m already very, very sad about. On the strength of this incredible episode (both of its parts) I may even miss Moffat, too.

F*** The Walking Dead Season 3: The Return of the Un-Fun-Dead

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How can I describe Fear The Walking Dead for the benefit of those who haven’t yet sampled its delights? Here goes.

Imagine writing a list of all the things you love about The Walking Dead. Now imagine pulling your pants down and taking a long, slimy shit all over that list, working and twisting your hips so you actually spell the word ‘shit’ with your own shit as you shit it out, like piping the icing on the world’s most abominable cake. Imagine stomping your bare feet into all that shit, really spreading and squishing it around, and then getting a lamb to lick the mess from between your toes.

Well, I’d rather watch you do that than watch another season of Fear The Walking Dead.

So I guess that makes me a sicko as well as both an unhinged completist and a self-flagellating masochist, because I am going to watch another season of Fear The Walking Dead. Why don’t you join me? Or jump back in? Catch up. Take the plunge. Misery likes company, after all.

Here’s a re-cap of the action so far, presented in the sort-of style of a sort-of recipe.

Ingredients you’ll need to make:

A series which purports to show the fall of civilisation

The fall of civilisation (4 episodes)

Getting to a boat (2 episodes)

Being on a boat (4 episodes)

I wish that they were still on that boat (3 episodes)

What happened to that boat anyway? (2 episodes)

A hotel? A Mexican death cult? This could get interesting (4 episodes)

I was promised way more boat than this (2 episodes)

I suppose Fear The Walking Dead itself is a little bit like a boat, a broken boat; cast adrift on a rolling sea of plot as the tides of tired tropes and waves of cringe-worthy contrivances hurl and tug it hither and thither. It’s doomed to sail on uncertainly and aimlessly, at least until the day it’s dashed on the rocks of viewer apathy.

Despite garnering higher ratings than Better Call Saul (What the hell is wrong with Americans? No wonder you voted for Trump!) that day surely can’t be too far away. The only thing stopping me from jumping overboard with this show – “ABANDON SHIT!” – is the faint, infinitesimally small glimmer of hope that things might get better; that I might actually start to care about the characters.

Earlier this year The Walking Dead – FTWD’s zombie daddy – wrapped up what was arguably its weakest season yet. Even in its better days The Walking Dead was never likely to earn itself a place in Television Valhalla, standing shoulder to shoulder with the mighty classics of our age. It’s often clunky, schmaltzy and over-padded. Who cares though, right? Not every painter can be Van Gogh. Not every TV show can be Mad Men, The Wire, Breaking Bad, The Sopranos or Rectify. But at least The Walking Dead is capable of turning out exciting, haunting, affecting and powerful episodes, and I actually care about most of its characters. Especially Carol. And except for Carl.

Fear The Walking Dead, on the other hand, is objectively – on the evidence of its episodes to date – a bad show, as I’m sure the subtle analogy I deployed at the beginning of this piece, involving lambs and human feces, made clear. The tag-line for Fear the Walking Dead’s upcoming season might as well be: “YOU ACTUALLY THINK THIS SHIT’S GOING TO GET BETTER, DON’T YOU?”

I hope it gets a lot better. I really do… Or at least marginally better.

Anyway, here’s a re-cap of the characters:

Madison Clark

Hi. I’m Madison. I’m an archetypal strong female character in the kick-ass-mom mould. Good, right? Well, no, because I’m poorly written and portrayed as if I’m a Vulcan at a funeral, walking around with a jaw like a steel-trap, frowning and moaning the whole time. Seriously, I’m so unlikeable I can’t even stand myself. I was in Deadwood. Remember that? Man, that was a good show. And now I’m in Un-Deadwood. Fuck. I wish I’d taken that part in The Strain. At least I’m not a total pussy like my boyfriend… whatever this name is.

Travis… thingy. Or am I?

Hi, I’m Travis. Or am I Curtis? I think I’m Curtis. Am I? Or is that the name of my actor? One’s Travis, the other’s Curtis. No, I’m Travis. I am Travis, definitely. Or am I Curtis? Fuck, is my name Cliff? Christ, I’m so boring and devoid of a concrete identity it’s no wonder I’ve no idea who I am. Dull, dull, dull. I’m desperately trying to survive a fledgling apocalypse here: how the Hell do I manage to be so utterly boring in the process? I just mope around all day looking like Tully from Sesame Street, and pissing on people’s parades. But don’t worry. I beat two punks to death at the end of last season. That was a wee bit interesting and people seemed to dig it, so they’re going to ‘Rick’ me up for season three. WE’RE GOING OVER THE CLIFF EDGE, BABY! Hmmm. That doesn’t work if my name’s not Cliff though. Travis… Travis… Travis… A-HA! WHY DOES IT ALWAYS BRAIN ON ME?!

Or am I Curtis?

Alicia Clark

Hi there, (bats eyelashes) boys are like soooo gross, shutup I love boys, oh God I love my iPod, but oh God I’d die for my boyfriend, he’s like my bff, oh my God, gross that is like SO unfair, oh my God I hate you guys, I’m such a girl, I’m so ditzy, oh I’m on a boat, OMG, boys, I can talk to boys out here, uh-oh I almost got us all killed, FML, I wish I wasn’t so naïve and blindly trusting and … (CHUNG CHICK) Hi there, that was the sound of me loading a fresh cartridge into my shotgun, that’s the kind of thing I do now, because I’ve just inexplicably woken up in possession of the wise, noble soul and tactical combat knowledge of a 900-year-old warrior-general, and the inner-calm of a Lara Croft android. I’ve gone from ‘Damn, she MOAN’ to ‘Michonne. DAMN’ in less time than it takes a man to check IMDB to see if I’m safe to wank over.

Nick Clark

OK, let’s get all of the Johnny Depp and heroin addict gags out of the way first, shall we? What’s Eating Gilbert Grape? Zombies, that’s what! I’ll also give you Edward Needle-hands, Willy Wonky and Crack Sparrow. There. All out of your system now. Hi, I’m Nick. I worked out how to walk safely through hordes of zombies pretty early on in the apocalypse. You just smear yourself with zombie guts. I tend to do it every single time I’m out amongst the zombies, because I quite like being alive, unlike those fucking idiots on The Walking Dead. Anyway, give or take my recent spell in a Mexican death cult, I’m probably the best character on the show, which is a bit like being awarded best in show at Crufts when you aren’t actually a dog. Or maybe it isn’t. I’ve taken a lot of heroin.

Victor Strand

I’m mysterious. Christ, I’m mysterious. Look at me lounging against the bars of this cage in my dapper clothes, offering gruff nuggets of cod-philosophy and intrigue to my jonesing new friend, Nick. It’s like my old dad used to say: if you find yourself imprisoned under martial law during a zombie apocalypse, make sure you’ve got a junkie as your right hand man. Junkies are indispensable survivalists, and not a liability at all; everybody knows that. I’m Strand, by the way. Or am I? Who am I? Who are you? Who’s Abigail? Ah, forgive the mystery, it’s my boat, you see. And I’m going somewhere. Where? Well, aren’t we all going somewhere? Christ, there’s that mystery again. I’m also dangerous. Did I mention that? Can’t you see it? Dapper and dangerous. Positively stranger-ous. I’ll cut you and you won’t even know you’ve been cut. I’ll cut the rope on your dinghy. I’ll shoot you. I’M IN LOVE WITH DOUGRAY SCOTT. He was great in Love Actually. He wasn’t in it? Well, what was the one… Kathy Burke was in it. He had the long hair and that? Anyway, I love him, and we’re all going to Mexico so we can… Oh. He’s dead. Fuck. Erm… eh. Yeah. (sigh) I’m boring now.

Chris Manawa

Hi, I’m Chris, which is short for ‘Christ, I’m an awful character.’ Remember how you thought Carl Grimes was the most awful boy in existence? Well allow me to introduce you (points at self) to this cunt.

You watched me at the end of last season and thought to yourself, ‘Oh, thank goodness he’s dead, I hate that fucking guy’, and then when the guy who plays me appeared in Agents of SHIELD – as Ghostrider’s brother – you thought, ‘Phew, well that seals it then, he’s absolutely, definitely, incontrovertibly dead,’ and then the character was only in the show for about three episodes, and you thought, ‘Oh, fuck, maybe Chris ISN’T dead’. And then you couldn’t quite remember if my death had only been hinted at or if it had been shown on screen, and you thought to yourself, ‘Actually, now I’m thinking Curtis killed him… or did Curtis kill the guys who killed him? Wait, is it Travis or Curtis… but… shit, I can’t remember’, and then you didn’t even care enough to Google it.

Oh, and Ofelia, too. I guess she’s a thing?

F*** the Walking Dead returns to US screens on Sunday 4th June with a host of new characters, and hopefully the tragic death of a few old ones.

The Walking Dead Season 7A: What happened, and what’s going on… and what went wrong?

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It’s fair to say that the front-half of The Walking Dead’s seventh season has attracted a lukewarm response from audiences and critics alike, despite the arrival of Negan, everyone’s favourite trash-talking, bat-wielding sociopath.

So what went wrong? I’d contend that The Walking Dead’s biggest enemy has been the audience’s expectations. Never before has a show or a movie taken such a continuous, long-form look at the nuts and bolts of a zombie apocalypse. A zombie movie has a definite arc: there’s an outbreak, society collapses, the survivors endure horror and heartache, a plan is hatched or a quest undertaken, and slowly and painfully the survivors learn to adapt. The movie then ends on a note either of hope or nihilism. The zombies never linger long enough to lose their terror, certainly never long enough to become a manageable nuisance.

The Walking Dead has entered its ‘manageable nuisance’ stage, and many viewers now find themselves struggling to reconcile the show’s new direction with their expectations of it being a man-against-monster zombie survivalist saga. Nobody can talk such viewers out of their apathy or active dislike; however, it’s worth pointing out that if the show had simply continued to place its zombies front-and-centre – if the story hadn’t expanded to incorporate new challenges, obstacles and threats – we would have become as desensitised to the undead as the show’s characters have by this point in the narrative. The Walking Dead had to end or evolve, and if you’re willing to accept its evolution, then you have to cut it a certain degree of slack during its transition.

I only started reading the Walking Dead comics after the show’s sixth season finale. I very quickly gorged myself on them, catching up and then overtaking the TV show. By the time Lucille had crashed down on the heads of her flesh-and-blood victims, I was already in a post-Negan, Whisperer-infested world. I’d also decided that the quintessential Negan could only be the brutish, black-and-white, fuck-fuckity-fuck-stick version from the comic books (you can read my article about that here). It’s fair to say that Jeffrey Dean Morgan had something of an uphill struggle against my expectations. As did the entirety of the seventh season itself.

While the show doesn’t follow an identical trajectory to its source material – and has different characters and different versions of existing characters to boot – I already knew the main thrust of the narrative, meaning that when certain scenarios began to unfold on screen, I had a fair idea of what would happen next, and in some cases who would die. I wonder if these two related things – how much I’d enjoyed comic book Negan, and my knowledge of the main story beats to come – robbed me of my objectivity and sense of surprise, which in turn left me pre-disposed to view the show comparatively and analytically, instead of through the gut and the adrenal gland (which of course is the manner in which The Walking Dead is best enjoyed).

That being said – and while it’s obviously impossible for me to un-read the comic books and watch those first eight episodes again through untainted eyes – I do believe something has been severely off-kilter with season seven so far; problems that run deeper than the show’s new direction, and my foreknowledge of the source material. I can’t remember ever enjoying a fresh batch of episodes less. Sure, The Walking Dead has always had slower episodes, and weaker episodes, and filler episodes, but these are usually buoyed by a mix of competent, good and occasionally great episodes either side. Not so this season. All of the episodes thus far have felt lukewarm and lacklustre, and somehow lacking thrust and cohesion. Many of the big dramatic beats, especially the deaths in the premiere and Rick and Negan’s jolly RV trip, were handled clumsily and gratuitously. The show has never felt so coldly nihilistic, and that’s saying something in a series threaded through with so much death, destruction and misery.

I understand that in order for the coming war to mean something, and for the inevitable victory to provide us with a visceral dose of catharsis, our heroes must first be trampled deeper into the dirt than they’ve ever been trampled before. We have to fear for them, we have to feel their sense of pain, impotence and outrage. We have to be introduced to and start to care about all of the potential allies that are going to be thrown together in the back half of the season, and have a fair idea of the mechanics of the enemy camp, and the tenuous fear-soaked peace that keeps the Saviours in power. I understand the chess pieces have to be moved into place, and the pace slackened to prepare for the fireworks. But still… meh. At first I thought the problem was Negan. But I’ve come to realise that the real problem is Rick.

Not Andrew Lincoln, you understand, who has always done terrific work as Rick Grimes. But Rick the character, who suffers in comparison to his more effective comic-book counterpart. While it’s true that Comic Rick has had his lapses of judgement, spells of foolhardiness, and suffered the odd psychotic break, he’s always felt like a leader in both name and deed, fully deserving of the title and capable of handling the weight of the crown that goes with it. His ruthlessness and occasional recklessness is tempered by a strong conscience and a pragmatic outlook. I can see why his people like him, trust him, respect him and follow him.

The only real evidence that TV Rick is a great leader is the amount of times the other characters repeatedly tell each other that Rick is a great leader. To my mind, he only has two stock responses to most managerial and logistical problems: cry face, or full psycho. Case in point, Comic Rick only swallows down Negan’s brutality in order to lull him into a false sense of security. Even as Lucille swings down atop Glen’s skull, Rick is formulating a plan to take that mad, cackling bastard down, despite the seemingly insurmountable odds against him, because that’s who Rick is, and that’s what he does. He’s strong and capable, even in his darkest and most testing moments.

Game of Thrones may be able to juggle the narrative demands of an entire world and its multifarious clans and characters, offering up a smorgasbord of delicious little interlocking short stories that served together are greater than the sum of their parts, but The Walking Dead – while definitely an ensemble show – really needs Rick as its focus, its point-of-view, its through-line. The lack of Rick – and especially the lack of a strong Rick more in-line with the comic book incarnation of the character – has been to the show’s detriment.

Unless of course this Ricklessness is part of a deliberate strategy. I’m thinking more and more that perhaps the ground is being prepared for a shocking shake-up that will serve as the biggest break from the source material imaginable: the death of Rick Grimes. One thing season seven has done particularly well is to promote the strength and resilience of the show’s female characters, especially Maggie, who is an obvious and believable contender for the top spot should Rick ever take a long, one-way walk into Walkersville. It’s worth steeling yourself for such an eventuality. For once in the show’s history, the possibility of Rixit doesn’t seem too far-fetched.

I sincerely hope that, whatever lies in Rick’s immediate future, the Walking Dead will return with a barnstorming, seat-of-the-pants, solid smattering of tense and exciting episodes, to exorcise the malaise of this season’s opening half, and perhaps even grant it a retrospective pardon. The first eight episodes may not have rocked my world or inspired much in the way of hope or enthusiasm, but there was still plenty to enjoy: Carol (she’s my ‘if x dies, we riot’ character); the introduction of King Ezekiel and his pet tiger; the effective and over-due fleshing out of peripheral characters like Rosita, Father Gabriel and Tara; Daryl’s stay at Dick Dastardly’s Dog-food Motel; and the mid-season finale, which was actually very good, and finally convinced me that Jeffrey Dean Morgan was the right man for the role of Negan; he really owned the character in ‘Hearts Still Beating’, seemed to swagger straight onto Alexandria’s twee suburban streets from the pages of the comic book. I’m sorry I doubted you, Jeffrey. Perhaps you just needed a shave.

One thing I didn’t enjoy – and which I gather had fans howling into their hankies – was the emotionally manipulative reunion of our band of heroes at the episode’s climax. Those few minutes of silent smiles, nods, tears, hugs and raised eyebrows, all set to uplifting music, felt a bit too on-the-nose, like a cross between a music video and an episode of a soap opera. I couldn’t help but remember a funny video I watched on YouTube a few years ago, where the musical score was removed from the scene at the end of Return of the Jedi, as the heroes are receiving their medals. It just looked ridiculous, and made me laugh like a loon.

I’m under no illusions about The Walking Dead. It’s a compulsive show, incredibly popular and lucrative, but it isn’t, and never will be in my opinion, a truly classic show; certainly not when stacked against worthy behemoths like The Wire, The Sopranos and Breaking Bad. That’s not to say that it hasn’t produced thrilling narratives, or produced some truly great episodes: the pilot, 18 Miles Out, Better Angels, Seed, Clear, Internment, Too Far Gone, After, The Grove, No Sanctuary, Consumed, What’s Happened and What’s Going On, JSS and Here’s Not Here, to name the stand-outs.

Lest you imagine I’m launching an attack, it goes without saying that I’m very fond of The Walking Dead, else I wouldn’t expend so much time and energy thinking and writing about it. And while the show may never be uttered in the same breath as the true classics of TV’s first and second Golden Ages, it’s shown itself more than capable of greatness in seasons gone bye (sic). And I sincerely hope that it’s able to reclaim some of its past vigour.

So come on, showrunners, Let’s do it.

Let’s make The Walking Dead great again.

———————————————————-

MORE ZOMBIE ARTICLES I WROTE FOR ‘DEN OF GEEK’

Syfy’s Z Nation: fun, low budget and well worth your time

How will The Walking Dead end?

When zombies attacked … Neighbours (and other shows)

And another from this website, reviewing S05E09.

 

Scotland Decides… What to Watch on TV

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Let’s take a look at what’s happened to TV in Scotland – and Britain beyond – in the wake of the referendum result. Welcome to a Scotland where every TV programme has something to do with independence, a lack thereof, or the wankiness of government. 

To contribute to a future edition of this TV Guide, please email your submissions to theotherjamie@hotmail.co.uk, including your name and location, and if enough people get involved I’ll do another one.

scott

Fawlty Powers

Cameron Fawlty is desperately trying to keep the guests in his run-down hotel happy so that his business doesn’t collapse around him. He does appear to be trying rather harder to please the rich guests, especially the ones with Home Counties’ accents, but let’s not get cynical, that’s probably just coincidence. Cameron is helped along by his luckless servant Man-No-Very-Well, of whom Cameron remarks to other guests: “I’m terribly sorry, he’s from Caledonia.” Get ready to shriek with laughter as Man-No-Very-Well is repeatedly struck over the head and threatened with a loss of earnings and a reduction of his liberty.

Tonight’s episode is everyone’s favourite, ‘The Scottish’, where we get to hear the immortal line: “Don’t mention the Barnett Formula! I mentioned it once but I think I got away with it alright. So, that’s two Scotch eggs, a dismantled NHS, a billion barrels of oil, a West Lothian question, and four deep fried Mars Bars.”

Not to mention: “Well you started it.” “No, we didn’t.” “Yes you did, you elected Salmond.”

Miliband of Brothers

Ep 6. A Scottish battalion – low on weapons and ammo – is coming under heavy fire from Westminster forces at the Battle of Referendum. General Miliband sends them a telegraph from HQ 800 miles away ordering them to stand down and allow their bollocks to be shot off by the enemy, who aren’t really their enemy, even though it might seem that way because they’re in the process of being attacked by them. Miliband vows that after the battle he’ll definitely send more weapons and ammo. Definitely. One hundred per cent. Possibly. Well, maybe. Put it this way, he’ll seriously think about thinking about talking about thinking about it. “Thufferin’ thuccotash, chaps,” signs off Miliband. “We’re all in this together! Thee you on the other thide!”

Lamonty Python’s Lying Circus

Johann Lamont and the Scottish Labour Party are back, and just as side-splittingly hilarious as you remember them. Includes the all-time classic ‘Dead Party’ sketch:

Johann Cleese: “Look, matey, I know a dead party when I see one, and I’m looking at one right now.”

Michael Failin: “No, no, it’s not dead, it’s, it’s restin’! Remarkable party, the Glaswegian Red, int’it, ay? Beautiful plumage.”

Johann Cleese: “The plumage don’t enter into it. It’s stone dead. This party has ceased to be. This is an ex-party!”

Get ready to guffaw your head off at more of your old favourites, like the Argument Clinic sketch (“Hello. I hear Scottish Labour is going to be a strong, credible force in the next election.”  “No it isn’t.” “But Labour stands for the working man against people like the Tories.” “No it doesn’t.”), The Four Scotsmen sketch (“I used to get out of my bed and go down the mines to work for twelve hours a day, and when I got home, I’d always go to the polling booth to vote for Labour. But you try and tell the young people today that… they won’t believe you.”) and, of course, the funniest sketch of all, The Ministry of Silly Cunts.

The Far Right Stuff

Join your host Nigel Farage for his mirth-filled mid-morning magazine show. Joining him today are Nick Griffin and Paul Golding. Why not call in and share your views on immigration with the guys? (Unless you’re an immigrant, in which case don’t waste our fucking taxes on a phone call.). The Far Right Stuff hopes to relocate its studios to Westminster in 2015, and go on to ensure even better coverage for viewers in Scotland.

smash

BBC News

A new series of the hilarious comedy.

Mighty Morphin Power Rangers

The exciting tale of an ordinary faction of loyalist Rangers Supporters who use their super-powers to stamp out the twin evils of Republicanism and Nationalism. In today’s episode, the gang is threatened by a wee 9-year-old girl waving a saltire in George Square. Donning their trademark Union Jack body-suits and balaclavas, and with a cry of ‘WE ARE THE PEOPLE’, they bond together and crack out their mightiest super-powers of all: the powers of “kicking fuck oot ay cunts an’ that” and “settin’ fire tay some cunt’s bin coz he’s prolly a bleck or a Tim.”

Mighty Corstorphine Flower Arrangers

In this spin-off show, a group of rich old Tory women from Edinburgh form a guild, which they use as a cover to fight the forces of fairness, justice and progressiveness. Watch out for their special power of saying ‘NO THANKS’ really loudly, and their devastating super-attack of ‘not wanting to risk the value of their husband Gerald’s stock portfolio’.

Lamont and Eck’s Friday Morning Take-away

Johann Lamont and Alex Salmond are back for a special post-referendum edition of the popular studio-based game-show in which Alex Salmond desperately tries to give autonomy, prestige and democracy to the Scottish people, and Johann Lamont tries to take it all away again.

Look out for the hilarious round where Lamont has only five minutes to terrify as many old people as possible by phoning them up and telling them that they’re going to lose their savings. Tonight’s first special guest is the woman from that advert who thinks the best time of the day is when they’re all out and it’s nice and quiet. Tonight’s other special guest is Tommy Sheridan, who’ll probably try to fuck her.

Cameron-nation Street

Just to recap the story so far: The Cabin was forced to close due to the opening of the town’s ninth Tesco Megastore just two streets away. Ken Barlow hung himself once he realised that his state pension was only six pence a month. Twelve residents have died since it now costs £6000 for a tub of paracetamol. All of the street’s houses have been repossessed. Actually, nobody lives on Cameron-nation Street anymore. Tonight’s episode is just a 30-minute static shot of the street, accompanied by the sound of an unseen man screaming himself to death. Last in the series.

Or if you’re in the mood for a movie instead, how about Danny Alexander Champion of Fuck All or No Country Because of Old Men.

New TV Shows This Autumn 2014

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bbc

25 Years to Life on Mars

In 2013, BBC producer Sam Tyler is the victim of a vicious didgeridoo attack, and wakes up on the ground outside the BBC studios in 1973, with Jonathan King’s cock in his mouth. Walking into the BBC Studios is like walking into a different world. Is camel-coat wearing, cigar-puffing Director General Geney Savile all he seems? And if his new guv’s on the level, then why does he keep patting his arse, winking at him and calling him a nonce? And why does Savile have a yew tree potted up in his office? The only man Sam feels he can trust is Bruce Forsyth… but for how long?

savileIs Sam insane, back in time, or in a coma? Is he even a BBC producer? Every time Sam passes a TV set he sees an image of his younger self lying unconscious on a hospital gurney, with Cliff Richard singing songs at his bedside. Allegedly.

Features a cracking soundtrack by Gary Glitter.

Brew Peter

An informative lifestyle magazine show for young adults on the dole. Ever wondered how to draft that perfect letter to an employer that will guarantee you’ll never get hired? Also, Richard Bacon reveals the secret of how you can use a strip of sticky-back plastic to secure your bags of blow to the underside of hard-to-reach places. Perfect for evading the filth! And discover a brilliant use for all of those empty Kit Kat wrappers you don’t need any more. Each week, viewers send in their crayon-drawn portraits of Margaret Thatcher, which are set on fire by an angry man dressed as a miner.

Crystal Meth Maze

methA group of toothless, stinking tramps in vests run around the many zones of the Crystal Meth Maze – Up the Graveyard, The Underpass, Big Tam’s Hoose, The Swingpark and Down the Docks – taking part in timed challenges to get their hands on those coveted Crystals. Watch with glee as they compete in games like forced prostitution without protection, bare-knuckle fighting with their best friends for the amusement of strangers, stealing from their families, and selling their own internal organs to the Chinese. What a laughriot. With Richard O’Dien.

Biggest TV Disappointments of 2013: The Following

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following

Kevin Bacon should be commended for his savvy in snapping up the lead role in this bold, brutal, and exhilarating piece. Yes, the production values are high, the dialogue is crisp and knowing, and visually it’s slick and vibrant, but make no mistake: Bacon’s the real star here. Everything is lifted to another level by the power of his performance; every second he’s on screen reminds us why this talented actor deserves his place at the top of the A-list. In a word: unmissable. 

You’re confused, aren’t you? Here you are expecting me to be giving The Following a ruddy good thrashing – pants down, six of the best – and yet here I am lavishing praise on the bugger. Well, not exactly. In actual fact, the paragraph above has nothing whatsoever to do with The Following. I was applauding those EE ads Kevin Bacon stars in, which begin to look like a series of mini-Citizen Kanes when set against The Following.

bacon1Remember Kevin Bacon in Sleepers? Remember when he led those boys down to the basement? Well, watching The Following is like being one of those boys. You’ll say to yourself: ‘I don’t know where he’s taking me, or why, but I just know this is going to be an awesome experience! How could it not be? I mean, it’s Kevin Bacon! This is going to be brilliant, just brillia… uh… em… Kevin, what are you doing? WHAT… WHAT are you DOING… Kevin! Kevin?? … KEVI…OW!!… inOWWWWwwwwuuuu…uhm… erm… I think… I think KEVIN BACON just FUCKED me!’

The Following is a piece of dog-shit. It really is: a hot, slimy, sticky, dog-shit sandwich, where even the bread is made out of dog-shit. It’s not a BLT: it’s a BDS. Take a big bite and watch that dog-shit slush down your shirt-front. Rub it in. Take some and smear it in your eyes. Saw open your skull and lather it onto your lobes like it’s some sort of shitty sun-tan lotion. Get someone to flamethrow your head – really flambé that dog-shit. Melt it straight into your skull, scalp and throbbing mind-bollock. Is it excrutiating? Good. That just means it’s working. You’re not done yet, though. Next, let a dog – any dog – lick the disgusting, syrupy, melted, congealed faecal mush from your exposed and infected brain, and then wait for the greedy beast to vomit it all back into your mouth. Ah, drink it in. Gargle with it. Swish that sick-shit around in your gob like it’s Colgate mouth-wash. Mmmmm, feel the chunks in your cheeks. Let them marinate. Then French kiss the dog. Go on, kiss it. Do it! Let its big, slobbery, dog-dick-scented canine tongue investigate your inner-jaw. And why stop there? Fly the dog to Vegas and marry it. Cheat on it with a hooker who’s also a tiger, and then have sex with that slutty tiger – and the dog – live on webcam, and email the footage to your parents. And then – and ONLY then – shoot yourself through the throat. You’ll have a more entertaining evening, I guarantee you.

The Following: not even WHITE dogshit.

The Following: not even WHITE dogshit.

Still determined to enjoy The Following? Be warned: you’ll have to lower your expectations in order to extract even minimal enjoyment from this rancid semen-stain of a show. Did you deduce that? Have I been too subtle thus far? And, people, you won’t have to lower your expectations just a little. You’ll need to lower them so much that eventually your expectations will drop down through the earth’s molten core, pierce through the fabric of time, space and reality, and knock Dante clean into a coma.

In fairness… the first and last episodes aren’t entirely awful. It’s just the bit in the middle that’s agonisingly bad. And that’s over eight hours worth of dog-shit. This really should have been a movie, or at-least a three-part mini-series. Maybe they could have salvaged something. But it isn’t. And they didn’t. All that’s left is a squandered premise and wasted potential, and an idea stretched beyond breaking point.  And that makes me mad. And when I get mad… I do dog-shit analogies in which people fuck tigers. Ggggrrrrrreeeeeaaaaatttttt (‘Kellogg’s on line 1…’)!

What it’s about: The Back-story

Kevin Bacon as Ryan Hardy.

Kevin Bacon as Ryan Hardy.

Kevin Bacon plays former FBI agent Ryan Hardy, a retired, alcoholic cliché who has to hunt down escaped convict Joe Carroll, an allegedly charismatic serial killer – and former professor of literature – played by James Purefoy.

Hardy catches Carroll after the depraved don’s first round of brutal serial slayings, but takes a near-fatal knifing to the chest as he arrests him. Hardy’s injuries force him out of the FBI, and he hits the bottle big-time. I know what you’re thinking: a maverick lawman who turns to booze to fight the pain, and doesn’t know if he’s ‘still got it’? Yes. It’s a startlingly original conceit (actually, a lot of novel work can be done with stock characters and familiar scenarios, but in this case…). In a nutshell, life’s a bit shitty and bleak for Ryan, but he does get to pump Carroll’s hot but irritating ex-wife Claire, played by Natalie Zea, so there’s some degree of silver lining to be enjoyed. Unfortunately, he also falls in love with her, the silly boy, which complicates things somewhat.

James Purefoy as Joe Carroll.

James Purefoy as Joe Carroll.

Meanwhile, Joe Carroll, in prison for being a serial killer and all-round bad egg, is busy secretly assembling a cabal of murderous psychopaths, who’ll be on hand to help him escape, and carry out his evil masterplan. The plan, such as it is, involves Carroll winning back his wife and young son (Well, it’s more ‘kidnapping’ than ‘winning back’) and tormenting the living hell out of Ryan Hardy using the aforementioned newly acquired legion of head-cases. Oh, and murdering lots of innocent people as well, obviously. Be rude not to.

Fantastically – and I don’t use that word as a synonym for ‘brilliantly’ – Carroll manages to recruit the bulk of his mental, stabby cultists through the internet… which he has completely unfettered access to… while in prison. Yep. You read that right. He recruits hundreds of killers to his cause, on his computer, in prison, while in prison for murdering lots of women.

GUARD 1: ‘Hey, shall we check this brutal serial killer’s internet history, see who he’s been talking to?’

GUARD 2: ‘Why don’t we just monitor his every move, read all of his mail, lock his door at night, stop him from having blades, and pay close attention to the hundreds of psychotic strangers who visit him every week as well, you fucking Nazi?! Geez, let the guy relax and play some Candy Crush, Hitler!’

OK, he’s got one of the guards on side, but even still…

In addition, both Hardy and Carroll have written and published books: the former, a blow-by-blow account of his investigation into Carroll and the events leading up to his stabbing at the madman’s hands; the latter, a pretentious piece of shit novel that has savagely dark undertones. Ryan Hardy is in fact the subject of Joe Carroll’s difficult second novel, which we discover Joe is writing as a companion to and an account of the horrible shit he does to his nemesis over the course of the show’s first season.

Anyway,  The Following begins nine years after Carroll’s incarceration, at the very moment he escapes from prison.

Why it sucks so hard

1.) Joe Carroll is a Poe-ring Bastard

tf6

“Hmmm, I wonder what method I’ll use to kill my agent.”

Joe Carroll has a thing for Edgar Allen Poe. He’s obsessed by the man and his works, and aspires to write fiction of a similar quality; unfortunately, he’s a two-bit, psycho hack, who couldn’t write for RiverCity. He is quite good at killing, though, and with this in mind he resolves to build his cult and its murders around the theme of Edgar Allen Poe. Some of his bampots even wear rubber Poe masks when they’re out on a kill. Now that’s devotion fur ye.

The whole Poe thing’s a nice conceit, but one that gets old far too quickly, and becomes dull even more quickly than that. Luckily, the writers seem to agree, and the idea sort of fizzles out for a while after the first few episodes. You’ll be glad. There’s only so much tenuous, Poe-related cod philosophy you can listen to before you begin to wonder if Drop Dead Diva might’ve been a better choice of box-set.

tf8

Couples’ counselling.

We’re supposed to believe that Joe Carroll is the most charismatic man on earth. But he isn’t. He’s smug. And arrogant. And a little bit creepy. His only discernible talent seems to be that he’s a half-decent English teacher. Nothing in the acting or dialogue convinced me that this man could’ve enticed or bewitched a rag-tag assortment of insanely-loyal psychopaths to do his evil bidding. Get them a passing grade on an Edgar Allen Poe test paper? Maybe. But this? Midway through the series, one of his insanely devoted cultists offers himself to Carroll as a human sacrifice, ultimately because he thinks Carroll will have a right laugh stabbing him to death. He’s right! I did, too. I think I was supposed to be shocked, though.

So how does Joe Carroll’s ‘charisma’ work? How does he recruit his army and manage to provoke such slavish, unquestioning devotion in his would-be recruits? Beats me. On the surface of it, he just sort of stares at them intensely and then talks to them in a honeyed, husky whisper for a couple of minutes:

‘So you’re a fan of murdering, and you butchered your own mum? Ach, don’t worry about it, murdering’s cool. Extra points for a family member! Anyway, you’re awesome, and I’m definitely awesome, so how about joining my cult? We’ve got prose and everything, and sometimes we get to talk like we’re in a high-school production of Shakespeare.’

2.) Soap Cra-pera

Awful. I don't even care what their names are.

Awful. I don’t even care what their names are.

Too much of the action focuses on a trio – two guys, one girl – of young, trendy, be-quiffed and coiffured cockbags. After many years spent as dormant ‘sleeper-cultists’ living undercover as Claire Carroll’s neighbours and babysitter, their mission is activated: kidnap Carroll’s kid, and get him to Serial Killer HQ in time for big Joe’s arrival. These three characters are essentially 2-dimensional, knife-wielding haircuts, who seem to exist only to look pretty and spout pseudo-philosophical bullshit about how awesome it is to butcher people. And to shag each other, obviously.

The three losers eventually form a steamy, bisexual love triangle, which proves to be about as entertaining as having experimental groin surgery performed upon you by an angry monkey in the grip of meth withdrawal, and less convincing than Katie Hopkins’ impersonation of a human being. Whenever these three are on screen together The Following becomes like an episode of Hollyoaks Later with slightly shitter dialogue.

3.) Police

"God DAMN it! I can't get past level 358!"

“God DAMN it! I can’t get past level 358!”

OK, I know the stakes are supposed to be high in a policey/slashy/killy show. High stakes that gradually become higher still serve to ramp up the tension; create conflict and suspense; and drive the narrative in an exciting direction that makes the audience want to keep watching. I get that. And if the police were absolutely brilliant at their jobs, then the show would be over in less than an episode:

‘Ha ha ha ha, you’ll never foil my fiendish plans, never, never, NEVERMORE I say, NEVE… {click} Shit.’

Granted, the baddies’ plan is suitably fiendish. There’s an army of sleeper serial-killer cultists out there, drawn from all walks of life, and across the divides of age, race and gender. At the beginning, the good guys have no idea that the cult even exists, and even when they realise what they’re dealing with, they still have no idea how many members it has, or who they might be. They could be anyone: a cop, a prison guard, an FBI agent!

I get all that. But if the police are consistently shown to be about as effective as the Chuckle Brothers armed only with a bag of dead chickens, as they are in The Following, then it quickly destroys your willingness to suspend disbelief. Honestly, the cops don’t win at anything. Not once. Every strategy they adopt fails, everything they say is bull-shit, and everything they do is ball-achingly stupid: ridiculously, incompetently, fatally stupid.

tf10In real life, I’ve seen more and better trained police officers sent to deal with a noise disturbance in my street than The Following’s fictional FBI ever deigned to send in pursuit of a serial killing cult. No-one ever takes back-up with them, and when they do call for back-up, it’s always at-least forty miles away. Jack Bauer would never have found himself in such a sorry situation: no matter where he or his agents were in the world, it only ever took them ten minutes tops to get where they needed to be. Actually, bad comparison, because Jack Bauer never needed back-up at all; a fucking sharp pencil would be good enough back-up for him (I suppose 24 suffered from the opposite problem to The Following: Jack Bauer was too good at his job).

Really, though, it’s as if the police and the FBI have recruited all of their officers from the same pool of people who always die horribly within the first six minutes of a horror film. Considering there’s a cult out there whose members could be anywhere and anyone – essentially making every stranger a suspect – the police seem keen to adopt the curious tactic of suspecting no-one at all. Douchebags.

4.) Ryan Hard-ly

hardyKevin Bacon is a really great actor: Ryan Hardy is a really shit character. He just mopes, broods, and frets his way through the dark, grey, oppressive atmosphere of The Following’s suicidally un-cheerful fictional world. It’s not Bacon’s fault, I suppose. All he did was sign the contract. I hope the cash was worth it, because Ryan Hardy’s merely a poor man’s Jack Bauer. Imagine Jack Bauer with a pacemaker and a drinking problem, and then stop to realise that even with a pacemaker and a drinking problem Jack Bauer would be a hundred times more fun, likeable and interesting than Ryan Hardy – and Bauer kills and tortures people in almost every episode! Come to think of it, although the premises and subject matters are radically different, it feels to me like The Following wants to be a slasher-psych-thriller version of 24 (but without the real-time element, obviously), and fails miserably on all counts. Can you still taste that dog-shit?

And this is before we even delve into Hardy’s reputed ‘death curse’. God, the dialogue is execrable on this show. There’s a scene that shows Hardy in bed delivering a woeful chunk of expository dialogue, in which he reveals that almost every single person in his life has died or been horrifically murdered, a preposterous roll-call of hilarious deaths. It’s supposed to make us sympathise and connect with the character, I suppose, but it only served to make me roll my eyes and snort out a derisory laugh.

‘…and then all I had left was my turtle, Mr Jenkins, but somebody put a pipe-bomb inside him and threw him in my girlfriend’s face…’

The Best Worst Moment

One of Carroll’s acolytes is captured by the FBI. He’s injured, so they sling him in a hospital room, and place him under armed guard. As he lies there awaiting interrogation, the loyal idiot realises that he would rather die than betray his master. He proceeds to kill himself by eating his own bandages, suffocating himself to death with them. I’m guessing the intention was to chill and shock the audience by showing them just how deep and twisted a loyalty Carroll inspires in his sick-ass tribe of psychopaths, but it didn’t have that effect on me. I thought it was funny as fuck.

I couldn’t help but be reminded of this scene from The Simpsons:

http://www.youtube.com/watch?v=WJEtonrIKP8

The Verdict

Do I really need to sum up this article for you? I don’t think there are any lines to read between here. The Following is shit. But it’s good shit, if you get enjoyment from deliberately watching shit things and then tearing them apart, like I know I do.

So, remarkably, I guess it’s good.

Now THAT’S a twist.

And, in closing…

zea

John Lewis Christmas Advert 2013 – Director’s Cut

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Here’s a link to John Lewis’s 2013 Christmas advert, if you haven’t seen it.

John Lewis Christmas advert

Pretty good effort, John Lewis, but I can make the ending better. You want drama? Heart-ache? You’ve fucking got it.

johnlewisOK, this is what happens. The bear waddles out from hibernation. He makes his way down the snowy hill to be with his best pal, the hare and – oh my God… Christmas… and all my friends… and… and a big tree… and OH MY GOD, I’M SO OVERWHELMED WITH AWE AND EXCITEMENT, this is literally AMAZING – just then, a hunter steps out from the forest, takes aim with his rifle and shoots the bear through the back of the skull. BANG! A FOUNTAIN OF BLOOD! The bear’s dead body thumps down onto the snow, and an oil-slick of red quickly spreads over the white landscape. The owl is so freaked out by the gun-shot that primal instinct takes over. The owl swoops into flight, and heads straight for the hare, digging his sharp talons into the hare’s back, and snatching him up into the air. The hare’s too heavy, though, and the owl can’t cope with the burden, so he releases him earthward. The owl, snapping out of his fugue, and finding himself racked with grief and shame, heads straight for a tree trunk, and slams his revolving head into it at full speed. SNAP! He’s DEAD. At the same time, the hare tumbles and hurtles towards the ground like a cannon-ball, and lands – with a sickening crack – right  on top of the hunter’s head, killing the human instantly. The hare is alive – but only just. The hare rolls and rolls and rolls, his legs broken, his neck twisted, rolling and rolling down the snow, until he comes to a stop not too far from his dead pal’s giant slack-jawed body. The bear’s big dry tongue rests lifelessly on the cold, cold snow. The hare struggles to breathe. As the life drains from him, he looks into the bear’s wide, dead eyes, and starts to cry. The guilt is killing him as surely as his injuries. His best friend, the big gentle bear – thought the hare – would’ve been safe in his cave until spring, if only he’d kept his fucking mouth shut about poxy bloody Christmas.

‘It… was… my fault,’ he says. ‘I’m…sorry… old friend. The worst… thing is… Christmas… is shite anyway…’ Then he dies. And a caption flashes up on the screen:

WOULDN’T’VE HAPPENED IF THEY’D BEEN JEWISH.’

Then there’s an enormous nuclear explosion, killing everyone – man and animal – within a 60-mile radius.

Get filming it, John Lewis. And I want my cut.

Merry Christmas, everyone!

The Recipe for Kitchen Nightmares US

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Gordon Ramsey Kitchen Nightmares

I know Kitchen Nightmares is a heavily-manufactured, manipulative piece of reality TV guff, but I can’t help but love it. I also can’t help but notice how each episode is constructed pretty much identically. You’ve seen one, you’ve seen them all. But you still watch them all, because they’re immensely entertaining. God bless you, Ramsey, you angry little shit. Here’s how things go down: every single time.

  • Ramsay arrives at the restaurant, and makes some bitchy comments about the decor/menu/the discovery of a rat on the doorstep.
  • The owner tells Ramsay that the restaurant is losing money, which they can’t understand because the food is awesome. Ramsay’s concerned frown and receptive eyes betray the fact that within the hour he’ll have them in tears after shouting at them like they’re the unwanted step-child of a second marriage.
  • Ramsay orders three items from the menu, and declares each in turn the worst dogshit he’s ever tasted in his life. The serving waitress agrees with Ramsay’s assessment, and adds that the owner, her employer, is a waste of space as a human being, and a terrible manager. She’s pretty sure the owner won’t mind her honesty once the show is broadcast.
  • Ramsay rampages into the kitchen and discovers a rotting corpse beside the pizza oven. The owner gets defensive and says, ‘What’s your problem? That’s our mascot: Davey.’ Ramsay then discovers that none of the food is fresh, and all of it is kept in plastic bags beside a heater, next to a cardboard box filled with arsenic and rat shit.
  • Ramsey’s jaw muscles go into over-drive as he unleashes a volley of vile swear words at the owner. The words are bleeped so we viewers are spared the horror, but Ramsey’s such a clever curser that even the rhythm of his bleeps spells out a verbal attack in Morse Code. The owner sulks like a baby, and then tries to blame the staff/their partner/the Norse God Thor for how shit they now realise their restaurant is.
  • Ramsey gathers all of the staff together. He itemises the worst things about the restaurant: the Chef’s Specials written in dust on the wall; the fact that semen is an ingredient of the clam chowder; the twenty-three cats that live in the dining room. He then says ‘bland’ and ‘no passion’ sixty-three times whilst jerking his finger around like a conductor having a stroke. The chef says he was only following orders and blames the owner for everything, including 9/11. The chef goes on to confess that he would rather brush his teeth with bird shit and gargle a vial of AIDS than eat the diseased muck his kitchen serves to customers. ‘Anyway,’ says the chef, ‘I’m a bricklayer and I don’t even like cooking.’ He further confesses that ‘he’s never heard of eggs before.’ Ramsey stares at the chef like the chef’s just sharted on a child, and then calls him a c***.
  • The owner threatens to kill the chef and then accuses the staff of being lazy thieves who spend their time texting instead of working. In fact, it’s so bad that they text the customers asking for their orders, and then text these to the chef, who promptly ignores them. A mouthy Polish waitress tells Ramsey that the owner spends every night crying at the bar, cradling his dead mum’s ashes and throwing olives at customers. The owner throws an olive at her, but a beef olive this time. The rest of the staff just sit there smiling and blinking because they’ve just arrived from Puerto Rico and can’t speak English yet. Ramsey tells them all to fuck off, and storms out.
  • Ramsey observes a typical night at the restaurant. The owner thinks, ‘This is my chance to show that British bastard how awesome my business is.’ We all think: ‘This show’s not called Kitchen Awesomeness, you fool.’ Lots of customers pour in because they want to be on TV. They agree that each dish on the menu is dogshit, and send everything back. A feral cat jumps up and steals some salmon from a customer’s plate, which is snatched from its mouth by a rat. The rat gets involved in a salmon-related mouth tug-of-war with a cockroach, which is only ended when a waiter crushes them both under his heel. The waiter places their fresh remains on a plate and serves it to another customer. He drizzles some sauce over it and says it’s their ‘Vermin of the Day.’ Ramsey rustles up a smile that conveys both smugness and hatred.
  • In the kitchen, Ramsey sees the chef vomiting over a breast of chicken, and then chucking it straight into the frying pan. Ramsey goes bat-shit mental, and the chef just shrugs, and then scratches his balls. With the chicken. The owner, too pissed by now to walk, starts crying because he can’t live up to his dead parent’s restaurant-running standards/is about to lose his marriage/can’t afford to keep his business going/it’ll make good TV.
  • Ramsey screams, ‘Stop what you’re doing! I’m shutting this kitchen down! You’re going to bloody kill someone.’ Sure enough, a customer keels over into a bowl of spunky clam chowder. The owner drags the customer’s corpse into the kitchen and puts it next to Davey.
  • The next day the entire staff watches a film on a giant cinema screen. It features every single person in town telling them how shit their restaurant is, and how much of a cock the owner is. The owner either a) cries and vows not to be such a cock in future or b) says it’s a Jewish conspiracy.
  • Ramsey gets the set designers from Prisoner Cell Block H to revamp the restaurant. Then he devises a new menu and cooks up some samples. Every dish is now ‘rustic.’ When Ramsey uses the word ‘rustic’ we know he really means ‘microscopically tiny portions at double the price.’ The staff are like, ‘Wow, these taste so good it’s like a world-class chef made them.’ Uh-huh. Because they were. By now the audience know that there’s zero chance Chef Cum Chowder is going to be able to match that standard once Ramsey buggers off.
  • Despite some before-the-last-ad-break editing that suggests relaunch night is going to be a disaster – it’s not. Well, we can’t have Ramsey’s reputation wrecked by a bunch of filthy plebs. Ramsey tells them they achieved it by themselves, and should be proud, even though they clearly didn’t, and they shouldn’t. Ramsey hugs them all, which is tense and unnerving, like watching a cobra giving somebody a hug.
  • Ramsey strides outside and gives an awkward recap to the audience, during which he swishes his finger like it’s a fencing sword, and keeps jerking his gaze down to the ground and back up at the camera again like a serial killer battling ADHD.
  • The restaurant closes down.

Sieg Kyle – Daytime TV’s Case for Sterilisation

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I wrote the piece below about four or five years ago. These days, Jeremy Kyle styles himself on a waxwork of a waiter from the Titanic, and has taken his hectoring talk-show to the States, its spiritual home – Jamie

Jeremy Kyle has become what many of his studio guests need: an institution. He is a mainstay of modern British media culture, along with Richard and Judy, Rolf Harris and Howard from the Halifax ads.

His long-running show serves us up a daily dose of poor, stupid and ugly people with which to satisfy our voyeurism, and generally make us feel better about our own pathetic little lives. Jeremy and his production team like to pretend that each edition is a sort-of pseudo trial, designed to expose dishonest behaviour before a furious Jury of the People, an act that will surely take away the need for any real social work, and possibly save the world. It’s all about reclaiming lost dignity, punishing the sinful, mending fences and repairing lives. Is it? Is it really? Then why does it seem that all Jeremy – and, by extension, we the viewers – are interested in is humiliation on a grand scale, with the added bonus of the threat of violence?

The typical guest is from the north of England, or Scotland, possesses little in the way of teeth or intellect, and has usually been – despite resembling a walking tumour – shagging their entire home town. Paternity and lie detector tests are the order of the day. The results of the latter wouldn’t be admissible in a court of law, but anything goes in Jeremy’s daytime Kangaroo Court. That’s why there are so many big, bald men with tattoos on stand-by as security; just in case any of the big, bald men with tattoos featured as guests decide to pop Jeremy’s head off and use it as a football.

The episode I watched featured the usual slideshow of human sputum, tears and tantrums. One of the segments told the beautiful story of an adolescent male who had met and ‘romanced’ a young lady, only to find out after their brief relationship ended that his ex-beau believed herself to be pregnant with his child. He disputed the accuracy of this claim, and thus demanded that she submit to a DNA test. Once his neckless, feckless, and dietarily reckless ex-partner thundered out on to the stage, I too was pretty eager for a DNA test: to prove she was human.

The ex instantly endeared herself to the audience by free-style swearing, and nervously yet aggressively hitting her shoe. I know it’s become something of cliché to describe an inarticulate, chavish girl as being like Vicky Pollard, but this lady really is the closest match I’ve seen; in looks, speech and mental processing abilities. She couldn’t see any connection between her outright refusal to submit to a simple test that would prove she was telling the truth about her pregnancy, and Jeremy Kyle’s mounting disbelief at her story. As guests often do on the Jeremy Kyle Show, she stormed off backstage. He followed her, changing his tone from hectoring, Hellfire Baptist minister to wise, understanding uncle. ‘Never mind them out there, it’s just you and me, now,’ he said to her, or words to that effect, refusing to let the fact that millions of eyes were on them both destroy the sense of intimacy he was cultivating.

‘Why don’t you want to take the test?’ he asked her softly. Her response almost had me rolling on the floor. ‘I’m not going to go down to his level,’ she said, rolling her eyes and continuing to batter her shoe.

Some might say that once you’re sitting on Jeremy’s backstage sofa it’s a little too late to worry about dropping a level or two. This is it, Neckless. This is rock bottom.

Let’s put aside our role as collaborating spectators for a moment (yes, I’m talking to you) and ask ourselves why anyone in their right mind (I think I’ve just answered my own question) would want to appear on Jeremy’s show. I see it as a venal circus, from which few emerge with even a shred of dignity; and that’s true even of the protagonists who initially approach the producers to get their pound of flesh from someone who’s done them wrong. Why don’t the guests see it that way? I can perhaps see why a cuckolded husband would want to see an angry audience screaming at his scrawny, cheating wife; but why would the wife want to subject herself to this treatment, and vice versa where the sexes are reversed?

Who gets a phone call from the Jeremy Kyle Show and thinks, yes, yes, I do want to have a middle-aged man shouting at me in-front of two hundred people, who will also be shouting at me, while the people watching at home hiss ‘scum’ at me.

Well, perhaps you would consider going on the show if you were dirt-poor, trapped in a life you couldn’t escape, ill-educated, desperate and sincerely believed that the Kyle show was an institution primarily concerned with helping people and not with exploiting and humiliating them for advertising revenue. Or if you were getting an all-expenses-paid trip to London, and the chance for your fifteen minutes of fame, however grisly.

Certainly one thing you won’t see on the Jeremy Kyle show is a top-hat-wearing male doctor arguing with his Gucci-clad lawyer of an ex-wife about who’s going to get custody of their Shih Tzu, Phillip. Funny that.

How do the producers sleep at night? I’m sure the Nazi doctors salved their consciences by assuring themselves that their work was for the good of mankind. Maybe that’s what they do.

Our society, and care industry, must be in one Hell of a shape.

Postman Pat – Kids’ TV Redux Pt1

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”sup, motherfuckers?’

The first episode of the re-imagined Postman Pat opens on a misty moor on a frosty winter’s morning. Pat and farmer Peter Fogg are drinking strong, home-brew whiskey, as they lie propped up against a dry-stone dyke.

‘Foot and mouth, swine flu, Defra, the wife. They’ve all fucked me, Pat. I’ve got nothing.’

‘I hear that,’ says Pat, hurling an empty bottle and smashing it against a tree. ‘Fucking government. Sixty pence for a first-class stamp? It makes me so angry I could choke Mopatop dead!’

‘Give us a minute, will you, Pat.’

Justice has a long nose and a black pussy.

‘Yeah, sure,’ slurs Pat, wobbling to his feet. As Pat crunches through the frost covered field, he hears the silence broken by a single loud clap. He knows that Peter Fogg’s long misery is at an end.

It’s 2012. The countryside is in ruins thanks to the recession, underinvestment and the exodus of the young and their money. Crime, unemployment and despair are the orders of the day. Chicken rapes are up 200 per cent.

Postman Pat’s seen better days. Especially since the tragic death of his wife at the village fete, crushed under the wheels of a tractor driven by a joy-riding fox.

RIP OAP. Goggins’ last stand: mailing her own dessicated jobby to Tory HQ shortly before doing herself in.

A few scenes in, the local post office is closed down by a laughing Tory bastard. Mrs Goggins, with nothing left to live for, takes her own life. She downs a bottle of Gordon’s dry gin, laces her false teeth with paraffin, pops them in, and then lights a petrol-soaked Cuban cigar.

Clutching Goggins’ withered, cooked fingers in his cold hand, Pat vows to avenge her and all of ruraldom. He paints a mural of a black fist on the side of his big, red van; wraps a bandana made from Mrs Goggins’ tear-soaked handkerchief around his head, shaves a mohican into Jess’s skull, claims the shotgun Fogg used to blow open his skull, and rides into the Yorkshire night looking to bring order into chaos.

Ted Glen – or ‘The Ferret’ as he was known by the SOCS.

The paedophile Reverend Timms is paper-cut to death by a stack of manilla envelopes. I guess he shouldn’t have tried it on with the Thomson twins.

A heroin smuggling ring, controlled by handyman Ted Glen and mobile-shop owner Sam Waldron, is brought to a swift end when Pat pulls up in his van of justice.

‘Package for Glen,’ Pat drawls, slipping an unfiltered cigarette into his badly animated mouth. He hands them the parcel, then makes sure he looks straight into their eyes with a menacing intensity before swaggering back to his van.

‘Ee, thanks, Pat,’ says a puzzled Glen, ‘But tha thought delivrees ‘ad ended.’

‘They have,’ laughs Pat, lighting his cigarette and blowing out a jet of smoke. Out comes a remote control. ‘For you. Privatise this, you drug-dealing motherfuckers.’

Pat slapping them down, Terminator-style.

The resulting explosion takes out Ted and Sam, the mobile shop, three cars, two walls, an electric fence, a pot of cottage cheese, John Craven and fifteen sheep. Wiping from his face the bloody remains of John Craven, and a fragment of sheep’s arse, he looks down at Jess with an uncertain grin. The flames from the explosion reflect in his lenses, lending him the aura of hate and Hellfire. Jess miaows.

‘Maybe we’re too old for this shit, buddy,’ says Pat. ‘But retirement is a choice. My choice. And this letter-posting, big-nosed bitch says nobody sleeps till Greendale’s cleaned up.’

Much crime-fighting and indiscriminate fox-murdering ensues.

Pat stands on a desolate outcrop overlooking the hills and valleys of his new kingdom. In the sky above he sees a vision of Mrs Goggins.

‘Pat,’ she howls in her ghostly tone, ‘will the mail ever come back to Greendale?’

‘One day,’ says Pat, cocking his shotgun, ‘There’ll be knock. Ring. Letters through your mother-fucking door.’

Derek Acorah is a Mentalist Pt 1

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The following is a TV review/rant I cobbled together after watching one of medium-extraordinaire Derek Acorah’s shows a few years back. More deliciously fun Acorah poo-pooing to follow over the next week or so – Jamie 

Snakes on an Astral Plane

Derek Acorah and his invisible psychic side-kick, Sam, in happier times.

Most parents keep their children away from gory, overtly disturbing, sexual or horrific TV content: explicit war films; late-night pieces of a pornographic nature; violent gun-and-monster flicks, and anything that has a hint of the red stuff or even a soupcon of rough language. All well and good.

But there are some programmes that slip under the radar, which many families actively encourage their children to watch. Happy, feel-good shows that seem innocent upon brief inspection, but if explored in any depth turn out to be more insidiously destructive and psychologically scarring than a back-to-back late-night marathon of Vampire Gore Splat Anal Destruction Nympho Whores in Trench Warfare Hell.

Welcome to Derek Acorah (broadcast on Sky 3 in the UK), a regular hour-long delve into the spirit world with the eponymous Derek Acorah, ‘Britain’s best-known medium’ – an accolade bestowed upon him by the Daily Mail. ‘Best known’? Yes, he’s ‘Britain’s best-known medium’ in the same way that AIDS is the world’s ‘best known’ sexual infection, and Adolph Hitler is Austria’s ‘best known’ Jew-killer.

'Your gullibility is THIS big, screaming woman.'

So what’s my beef with Acorah and his ilk? Surely it’s all a bit of harmless fun? Doesn’t Derek Acorah bring people comfort and closure, say ‘please’ alot, and thread love, peace and happiness into and around all of his dalliances with the spirits and their living loved ones? Well, yes. But this is why he’s so insidious. What gives a man like Derek Acorah, with no demonstrable psychic powers – certainly none that would stand up to any scientific scrutiny – the right to take people’s raw feelings of loss, hurt, fear and confusion, and attempt to exorcise them with flimflam and lies? Not to mention to extort these peoples’ feelings for money?

There are a few possible explanations for his conduct. The first is that Derek knows he has no psychic powers, and is cynically employing his theatrical tricks to make money from vulnerable punters, or else to satisfy some insecurity or Messianic complex whereby he feels a surge of self-worth or grandeur through ‘curing’ people – even if it is by a sugared deception. The second is that Derek actually believes he possesses both ESP and the ability to commune with the dead, in which case he requires some urgent and far-reaching mental help.

What's it watching? The Hissssss-tory Channel, of course! Belter!

In the episode of Derek Acorah broadcast yesterday (Friday 21st August) Derek brought out a woman and her pet snake. He attempted to read the reptile’s ‘thoughts’ and translate them for its owner.

‘He’s not been himself,’ said the woman. Excuse me? How can you tell that a snake hasn’t been himself? A drop in witty repartee? Not dressing as smartly?

Anyway, Derek was able to meld with the snake and went on to dispense some real psychically-gleaned pearls of wisdom. ‘You’ll need to take him to a vet,’ he told the woman.

Later, Derek added that his long-time spirit guide Sam was sure that the snake wanted to watch more television. The woman looked enthralled. During her own straight-to-camera moment, away from the studio audience, she made excuses for Derek. ‘It can’t have been easy reading a snake. I think he tried his best.’

Derek did little better when he moved on to bipedal mammals; although the audience didn’t share my assessment. He appeared again to have convinced them that he was a spiritual savant and all-round psychic miracle worker. This despite the fact that any person with a little common sense and a lot of balls (or a psychological condition) could come up with an achingly similar ‘reading’ and enjoy a chorus of oo’s and aah’s from any number of poor misguided souls. I’m being diplomatic here.

Derek after being told how much he gets paid for this shit.

His subject was a woman called Sharon, aged between 50 and 65. He amazed by asking if she knew anyone called Jack, Betty or Anne. She did. Incredible. Who would have thought that a woman born between 1945 and 1960 would know people with some of the most common names of that era? He moved on to wow her with such startling and specific questions as ‘Do you know someone who died of breast cancer?’ and ‘You’ve had to counsel someone recently who’s been through a break-up, haven’t you?’ Shockingly, she had. Who would have thought, given how long she’d lived, that there would be a statistical chance of those two things having happened? Certainly not Sharon or the tearful studio audience.

‘You’ve not had an easy life, have you?’ oozed Derek, staring at her like some demented hypnotist.

‘No,’ she agreed. I was almost out of my seat by then. This was getting spooky.

‘But you’re a star,’ he told her, almost on the verge of sobbing himself, ‘I know you’re a star. And they (the gaggle of dead communicating with him) know you’re a star.’

Who knows what frisson of sexual excitement was zapping through his balls at that moment as he held this deluded woman’s happiness in his huckster’s hands. He was probably thinking: ‘Ha! Jesus can suck on my big Liverpudlian throbber.’

Don't let your children watch Derek Acorah.

Have you ever heard noises in your house late at night? Probably just the pipes, or the radiators, or wood or cement expanding or contracting, right? WRONG, DICKHEAD! It’s ghosts. They’re there to talk to you, silly. Only they’re not going to make it easy for you. If your death has been foreseen by your loved ones on the other side, what are they going to do? Simply tell someone like Derek Acorah in plain, uncluttered English so that you can do something to prevent it? Rap out a warning in Morse Code? Use telekinesis on the fridge magnets to spell out ‘GO TO HOSPITAL’? No. They’d really rather prefer to make pots fall on the floor until you get the message.

Sharon had heard things in her house at night.

‘You’re confident you’re psychic, aren’t you?’

‘Well, yes, I’ve heard things. But I’m not scared.’

‘You’ve got an innate receptiveness,’ he told her. ‘You’re sensitive to spirits.’

What I like most about Derek Acorah is how he listens to all the facts, forms a hypothesis, looks at it from all angles, contemplates everything deeply, conducts a thorough investigation, follows through with an experiment, and then arrives at a wholly logical and scientific result. Inspiring.

The best part of the show, however, was when he grilled an old lady (not literally, although that really would’ve been entertaining) and claimed to have one of her acquaintances from the other side jabbering in his ear. The old lady had no idea who the person was.

‘Not someone in your family?’

‘No.’

‘Someone you know?’

‘No.’

‘If anyone in the audience wants to jump in, if you know them, please raise your hand.’

"You know someone called Morag, don't you?"

Even that little bit of fishing never made the audience in the least suspicious. Even when he moved on and left the old lady on spiritual call-waiting to entertain another spook they were still on his side and in full support of his miraculous powers. And still no one raised an eyebrow when he pretended to be in conversation with the spirit and said: ‘What’s that? You’re saying someone here does know who you are? OK, but we’re going to have to move on now, please. Step to one side, please. Thank you.’ Yeah, fuck off, ghost, nobody likes you!

It’s quite telling that after the end credits roll a message flashes up that reads: ‘All views and messages relayed in the show are for entertainment purposes only.’

Wouldn’t it be reasonable to expect someone who sincerely believed himself to possess genuine supernatural powers to fight the government and the media regulators tooth and claw to remove such a disclaimer from the end of his television broadcasts?

Just a thought. I’d like to lobby to have the message displayed throughout the entire show, in huge block capitals at the top of the screen. And force Derek to shout it at the end of each reading.

If you’re looking for something mildly diverting and inspiring for your children to watch on television as you organise lunch or dinner, don’t be tempted to expose them to Derek Acorah.

In the true spirit of the medium, simply go over to the other side. Or put on a DVD double-bill of the Hostel films which they can watch while you beat them with a fucking spade.