Well I told you it’d be a vintage year and well worth tuning in for, but I did not expect that. What a night! Let’s try to put some of the craziness in context. I’m not even sure where to begin.
So Eurovision 2018 gave us a huge variety of music with many genres represented. In my lifetime I never thought I’d see anyone stage dive at Eurovision! The way the initial jury voting went the field wide open with any of 6 or 7 songs that could have won. There was pop, metal, dance, ballads, opera and loads of different languages on show, mainly by people who all looked the same. So much for diversity, but baby steps. We also had four female presenters, none of them particularly gifted in comedy or the essential schmoozy green-room chat, but fully female-fronted is a big deal. This was especially obvious as creep after creep giving the jury votes commented on their appearance, hilariously the Portuguese man was the absolute worst. He made my ovaries cringe and shrivel up inside me. Ick.
Continue reading “Eurovision 2018 – the Grand Final”
I’m Dying Up Here was on my to-watch list for a long time before I took the plunge. I’m sorry I hesitated, because it’s exceptional television. It’s American comedy-drama television series created by David Flebotte and set firmly in 1970s Hollywood. It was made for Showtime in the US and picked up in the UK on Sky Atlantic (exactly where you’d expect quality imports to pitch up). It has comedy pedigree in its backbone as it’s based on a book by William Knoedelseder detailing the excesses of soon-to-be household names such as Jay Leno, Robin Williams and Andy Kaufman on Sunset Strip in the 70s. It’s also executive produced by Jim Carrey, and at the time of writing, the less said about him the better.
While based in reality, this is a fictionalised account of the premier Los Angeles comedy club, and the denizens who inhabit it, honing their craft to make it to the big time. That way real-life anecdotes can be revised, tweaked and magnified, much like the way a stand-up takes real life and makes it funny, constantly revising their act.
The comedy club is Goldie’s, owned and run by businesswoman and matriarch Goldie Herschlag (played by Melissa Leo, and loosely based on Mitzi Shore the founder of The Comedy Store). She has very little tenderness in her heart and is all about business. She cares for her comics in a way, but is very strict with them, and this tactic has proved extremely successful. What she says goes (even insisting one comic change his name after daring to play in another LA club). Goldie’s is only place where the talent scouts come from Johnny Carson’s ‘Tonight Show’, the big coast-to-coast American talk show. That slim chance at stardom is what keeps her comics loyal.
Continue reading “‘I’m Dying Up Here’ – Sky Atlantic”
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’”