Are you the kind of person who always remembers to say thank you to Alexa? Are you careful in how you describe the great and benevolent Google when you’re within earshot of a Home Hub? Have you had a good long look at your Facebook privacy settings and do you actually understand what all that nonsense means? In which case you’re already familiar with the themes of Charlie Brooker’s Black Mirror, a huge worldwide Netflix success (as far as we can tell with a company notoriously cagey about releasing their viewing figures) poached with extreme prejudice (and bucket-loads of cash) from Channel 4 back in 2015. Technology is a crutch for the human race, a wedge that drives us apart and the idealism of “do no evil” is an absurd fairy story. We’re being corrupted and driven to the point of madness by our own beloved, addictive creation.
Bandersnatch doesn’t make my life easy. This review is particularly hard to write. Usually I’d give brief outline of the story and then get into the nitty gritty. But everyone’s story here is slightly different, especially the multiple possible endings. So let’s cover the very basics and see where we go from there.
Continue reading “‘Bandersnatch’ – Netflix”
Good tv title sequences must grab your attention and sum up a show’s theme, and GLOW is a perfect example. The shiny disco Day-Glo neon titles scream “80s nostalgia here we come!” It’s all there, running throughout the series – the music, the outfits, the big hair. And a central scene in episode 1 takes place in an aerobics class which makes me, and everyone else of a certain age, think of Flashdance. We’ll be seeing a lot more women in leotards before this series is done. GLOW is the new Netflix comedy-drama from Orange Is The New Black executive producer Jenji Kohan, and the theme of strong unconventional women and their struggles is familiar to both.
We start out with aspiring actress Ruth Wilder (Alison Brie) and her fight against sexism in Hollywood. She’s delivering the audition of her life when her misunderstanding is revealed – “You’re reading the man’s part”. The women’s part is a secretary and she gets one line. Ruth is very determined, badgering the casting director (also a tough woman) who eventually offers her a crumb of sympathy – an open casting call for “unconventional women”.
Continue reading “‘Glow’”
A quick post to add my voice to the many thousands of other fans delighted that This is England makes its return on Sunday 13 September (9pm on Channel 4). Reviewers have said that Shane Meadows’ semi-autobiographical film and follow-up tv shows have been so successful because this is a gang we all want to be part of. I remember being nervous in the council estates in my home town. Even as a child I realised I wasn’t a part of it. It all seemed alien to this emotionally repressed middle-class kid – the close-knit families who did enormous favours for each other with no complaints, calling your Mum’s friends Aunty, kids playing out in the street until all hours, shouting, swearing, crying, sometimes private tensions bubbling over into violence made public. You’d never have gotten anything like that on my street. When we were really cross we might tut.
Continue reading “‘This is England ’90’ – Seeing the Future”
I find Danny Baker (radio DJ, talking head and Twitter dick) and Peter Kay (kitchen sink nostalgia-peddling comic) pretty annoying. They both seem to have peaked years ago and now they’re trading on past success. So Cradle to Grave featuring both was something to be avoided. Mr H was a big fan of Peter Kay’s last tv outing Peter Kay’s Car Share and the classic Phoenix Nights (Chorley FM – coming in your ears!) so we watched it anyway and it was surprisingly enjoyable.
Continue reading “‘Cradle to Grave’ and ‘The Goldbergs’ – On the Box”