Friday, 3 February 2012

Review: Noel Fielding's Luxury Comedy

Roy Circles is a shell-shocked war veteran and a widower who reminisces about playing tennis with his dead wife. He also happens to be a chocolate finger.

Noel Fielding’s Luxury Comedy has been described by Fielding as a “stream-of-consciousness sketching” that is “rich, dense, like a fruitcake". The half-hour show is packed with so many jokes and vivid colours that you need a warm-down after the first fifteen-minute bombardment.

Fielding’s brainchildren are psychedelic but they also have a distinctly – and hilariously – mundane aspect that prevents viewers feeling alienated. Take the cockney lion, Dondylion:  he gave himself away to hunters because he wanted to see Europe but he now finds himself stuck in a zoo with a plate of Hula Hoops and a framed picture of David Lee Roth.

Broader audiences might not initially warm to this series, but fans of The Mighty Boosh acclimatized to Fielding’s style of comedy will no doubt love the absurdity. Scenes such as a cameo from Boosh-star The Moon reward audiences for their loyalty to Fielding, and the fact that it’s being shown on E4 suggests it’s targeted at a narrower/younger audience as well as those who will have been won over by Fielding before the series even started.  

Many of the Boosh troupe answered Fielding’s call to be in the show, though there is a marked absence of Julian Barratt who, according to Fielding, is pursuing a career in avant-garde theatre but will eventually rejoin forces with Fielding to make a Boosh film. Barratt’s absence allows Fielding to explore his own vision in this solo series and try something less narrative-driven; the vast array of characters making pop-culture references and metaphors is closer to Fielding’s stand-up comedy.

The show has already been commissioned for a second series in 2013, with Channel 4's commissioning comedy editor Nerys Evans saying: "If series one brought us a talking knife wound and a man with ice cream for eyes, we can't wait to see where else Noel's comedy mind will take us next."

The third episode will be aired on E4 at 10pm on Thurs 9 Feb.

Monday, 9 January 2012

Review: This Is England ’88

Royalties will be covering the price of the Smiths’ Christmas presents this year – first John Lewis’ Christmas advert featured a rendition of Please, Please, Please Let Me Get What I Want, and now their songs have been used as the soundtrack to one of the best dramas of the year.

The band may have split up a year before 1988, the year in which the latest instalment of This Is England is set, but the heartache, political standing and representation of ordinary folk in the Smiths’ songs fits the bill.

The authenticity is outstanding and the cast have been quick to accredit this to director Shane Meadows, who always seems capable of combining beauty, poignancy and gritty realism.

He filmed the semi-autobiographical series with digital cameras; recording rehearsals in case a moment of brilliance occurred that couldn’t be replicated. Improvisation was encouraged and Vicky McClure was exiled from the rest of the gang so that she would seem suitably estranged in her role as Lol, Woody’s ex-girlfriend.

Joe Gilgun exemplified how deep the cast got into the mind-set of their characters when he nearly broke down while talking to channel4.com about his character Woody.

He went on to say: “I have never, and will never, work with anybody like Shane again. I know it’s a very media thing to say that people are geniuses but he fucking is – and I am swearing for that – he is a fucking genius.”

Woody spends the first two episodes with his new girlfriend, a complete opposite to Lol, and he’s frequently unsettled by her bonding with his parents. He’s clearly out of his comfort zone in the presence of his parents or boss, Mr. Squires, and he steals many a scene with his constant sarcasm.

It’s evident that he belongs with Lol, who has problems of her own. Her abusive dad, who made This Is England ’86 unwatchable at times, may be dead but he still haunts her in hallucinations, telling her that he’ll “always be here”.

As if that’s not enough to be dealing with, she also has to bring up a baby alone and live with the knowledge that one of her best friends is serving time in jail for her crime (Combo selflessly took the blame for the killing of her dad). She tries to kill herself by taking an overdose but she’s saved by the doctors and the prayers of a caring Irish nurse.

The suicide attempt ends up bringing the gang back together: Woody rushes to the hospital under the impression that she’s dead, makes amends for a fight he had the night before, and then goes downstairs to be reunited with the very-much-alive Lol, who’s having a fag break.

In a sideshow to the Woody-Lol narrative, Shaun (Thomas Turgoose) destroys his long-term relationship with Smell through three fateful actions: refusing to have sex with her; wanking in the toilet; and getting into bed with a pretty girl from the play he performed in.

Though one day it’ll reach a conclusion, we’ve now got This Is England ’90 to look forward to and Shane Meadows’ project shows no signs of faltering.



http://brightonlite.wordpress.com/2011/12/17/review-this-is-england-88/

Festive Booze

With the cuts and cold weather kicking in, now's as good a time as ever to turn to alcohol.

Here are some quick recipes to try at home:

Mulled wine

Serves 4 -6

Ingredients:
- 1 apple
- 8 cloves
- 1 lemon
- 3 cinnamon sticks
- 8 oz (225g) light brown sugar
- 3 pints (1.75 l) red wine
- ¼ pint (150ml) brandy
- Lemon slices to serve

1. Cut the apple into four and stud with cloves
2. Remove the zest from the lemon
3. Combine all the ingredients in a saucepan and gently bring to the boil. Simmer for two minutes – no longer as this drives off the alcohol
4. Strain and serve hot with slices of lemon

Gluhwein

Serves 6

Ingredients:
- 1 bottle full-bodied vegetarian red wine
- 1 orange
- 16 cloves
- 1 cinnamon stick
- 4 split cardamom pods
- 2” fresh root ginger
- 4-6 tbsp sugar
- 200ml brandy (optional but recommended!)

1. Pour the wine into a large saucepan
2. Cut the orange into quarters and push cloves into the rind of one quarter
3. Slice the remaining three pieces thinly
4. Add the orange quarter and slices to the pan with the cinnamon, cardamom, ginger and sugar
5. Heat slowly until hot, but do not allow to boil, then add the brandy
6. Serve in heatproof glasses or small cups. If you are worried about the glass breaking, stand a metal teaspoon in the glass before adding the hot liquid

Silesian Punch

Serves 8-10

Ingredients:
- 6oz/175g sugar
- ½ pint/300ml water
- Twist of orange rind
- Twist of lemon rind
- 1-2 short sticks cinnamon
- 4 cloves
- 1 bottle white whine
- 1 bottle red wine
- 3 wine glasses brandy

1. Put the sugar, water, orange and lemon rind and spices in a saucepan and heat
2. Stir until the sugar dissolves
3. Simmer for 5 minutes to develop the scents
4. Tip in the white and red wine and the brandy
5. Heat gently until bubbles start to rise
6. Remove from the heat and serve with a ladle, avoiding bits and pieces

http://brightonlite.wordpress.com/2011/12/17/festive-booze/?preview=true&preview_id=3781&preview_nonce=b0ee72202b

Preview: This Is England ‘88

Shane Meadows' gritty This Is England project takes a festive turn with This Is England '88, a three-part Christmas special catching up with the gang in 1988.

The 2006 This Is England film fixated on 12-year-old Shaun (Thomas Turgoose) being taken in by a group of skinheads after a fight at school, but the spin-off drama This Is England ’86 distributed the spotlight to other characters.

Lol (Vicky McClure) and Woody (Joe Gilgun) featured prominently in ’86 and look set to do so again in ’88. The latest instalment features the two characters, isolated from each other and often the rest of the gang, trying to cope with their ever-troubling circumstances.

Joe Gilgun, currently winning plaudits for his role in Misfits, said of Woody and Lol’s relationship: “She’s his absolute everything, to the point where he’s got this friggin’ boring job working for this complete moron, Mr. Squires, and he’s got this flat that he’s painting tortoiseshell blue.

“He’s doing everything he can to make her happy but he’s a tit, he just isn’t very intuitive.”

‘Growing up’ is a common theme in ‘88, with Shaun also drifting away from the gang after joining drama school in an attempt to make something of his life. His romance with Smell (Rosamund Hanson) progressed in ’86 but is now on the rocks due to the increasing differences between the two.

Hanson told channel4.com: “Shaun’s got more of a direction now because he’s got college and things, whereas Smell’s still off in her fantasy world of ‘let’s play make-believe and take a bit of whizz’. She’s a bit all over the fair.”

This promises to be a more subtle series than the frequently disturbing ‘86, which was highest rating original drama series launch ever seen on Channel 4, but Thomas Turgoose has revealed that we’ll still feel inclined to “feel sorry for every character in there”.

The first episode will be aired tomorrow (Tuesday) at 10pm on Channel 4, with the second and third episodes each on at 10pm over the following two nights.

http://brightonlite.wordpress.com/2011/12/12/preview-this-is-england-88/?preview=true&preview_id=3564&preview_nonce=b4e8615d2c

Friday, 9 December 2011

BACKLASH ON COALITION GOVERNMENT'S PLANS TO CRIMINALISE SQUATTING

Squatting has taken place throughout human history, especially in times of crisis. The chronic housing shortage after World War II saw families and returning soldiers hunting out empty buildings to occupy after their own properties were blown apart. The coalition government is now seeking to criminalize it, citing increasing concern about the “distress and misery that squatters can cause”.

Hove MP Mike Weatherly told BBC Radio Sussex that the criminalisation of squatting would benefit “everyone except the anarchists”, yet lawyers; housing charities; MPs; property consultants; activists; and artists have all expressed outrage at the coalition government’s attempt to sneak in an amendment to the Legal Aid and Sentencing Bill.

The results of a government squatting consultation showed that 90% of responders were against any action being taken on squatting – of 2217 responders, 2126 were worried about the impact criminalising squatting would have.

Campaigners against the amendment to the squatting law believe that it would be inhumane to punish disadvantaged people seeking refuge with a fine of up to £5,000 or a one-year prison sentence; at times of mass unemployment, a criminal record would all but destroy the job prospects of a squatter.

Squatters Network of Brighton (SNOB) said: “Due to the current housing crisis, the criminalisation of squatting will only victimise the vulnerable in society, and force thousands of people into homelessness, marginalisation and institutionalisation.”

Media hostility and political antipathy towards squatting can lead people to assume squatters make a habit of moving into people’s houses while they’re on holiday and refusing to budge, but this is so often far from the truth.

The Advisory Service for Squatters (ASS) said: “Media coverage of squatting tends to assume that property is owned by an individual, and they use the term ‘homeowner’ even when the property in question is not theirs, or anyone’s home. The vast majority of squatting takes place in property owned by institutions and left empty for a significant amount of time.”

Media coverage of squatting also frequently fails to acknowledge the fact that, under Section 7 of the Criminal Law Act 1977, it is already a criminal offence to squat someone’s home (interim possession orders (IPOs) are available for cases where squatting has recently been discovered).

The Centre for Regional Economic and Social Research at Sheffield Hallam University recently produced an enlightening report on the nature and extent of squatting. They found that squatters often have serious welfare needs: of the homeless squatters studied, 34% had been in care; 42% had physical ill health or a disability; and 41% reported mental health problems.

Conservative MP Grant Shapps nonetheless believes that it’s the property owners who are hard done by, and “too long the pain inflicted by squatters on law-abiding homeowners has been ignored”.

He went on to say: “The idea that squatting in some way offers a reasonable solution to the issue of homelessness is both false and cruel. Instead it keeps these vulnerable individuals away from the real help they need.”

Squatting is, though, the only choice for many people living on the streets. Another finding from the Centre for Regional Economic and Social Research’s study was that local authorities had been approached by 78% of the homeless people who squat, but had turned down the squatters because they were not deemed to be in priority need or were considered intentionally homeless.

With more than 900,000 empty properties in England (a Freedom of Information request found there are 1, 764 in Brighton and Hove alone), and 35,000 people predicted to be lose their homes between November and Christmas, it doesn’t seem unreasonable that people live in unoccupied buildings.

Councillor Bill Randall, Leader of Brighton & Hove City Council and a former chair of Shelter’s National Housing Aid Trust, recognises the struggle people face in finding accommodation.

Speaking after the latest official Rough Sleeper Count revealed that the number of rough sleepers found was 37, up from 14 the previous year, he said rent is “becoming unaffordable for many people on low incomes, and the forthcoming changes to housing benefit are likely to make things worse rather than better in this respect”.

He added: “What I find really galling in this context is the number of empty properties around the city. Our empty property team does a fantastic job, but it’s often an uphill battle because their hands are tied by legislation that is weighted too heavily in favour of property owners.”

Property owners’ role in the housing crisis has also been commented on by SNOB, who said: “The main people who will benefit from this law are not ordinary members of the public, but rich property speculators, registered in offshore tax havens. These people are artificially keeping property prices up for the entire population by deliberately keeping buildings empty.”

It’s believed by SNOB that by occupying these buildings, squatters are creating a fairer housing situation. Housing isn’t the only thing that would be affected by the criminalisation of squatting though; squats are also home to free libraries, art exhibitions, community projects and campaigns.

A squatter from Worthing, who wishes to be unnamed, said: “In Worthing we’ve set up squats to provide a space for people to learn about the G20 gatherings, attend gigs and meet like-minded people.

“All sorts of people squat: students; artists; activists; divorcees; and people with mental health problems who feel neglected by local authorities.”

The Legal Aid and Sentencing Bill – which the squatting law change has been tagged to – has only been voted on in the Commons so far, and SNOB is encouraging the public to lobby the House of Lords in order to stop the bill passing.

http://brightonlite.wordpress.com/2011/12/08/backlash-on-coalition-governments-plans-to-criminalise-squatting/

Tuesday, 15 November 2011

REVIEW: PATRICK WOLF AT BRIGHTON KOMEDIA

Remember, remember, the third of November, for this was the date on which Patrick Wolf performed a spell-bounding and accomplished set at Brighton Komedia.

His gripping display of instrumental and vocal flair was coupled with a great show of warmth towards his fanatical ‘wolf pack’. The adoration from his fans comes partly from his genial – but flamboyant – demeanour and partly from his gift for storytelling that’s evident on each of his five albums.

Heritage (Wind in the Wires); love (The Magic Position and Lupercalia); depression (The Bachelor); and politics (The Bachelor again) are some of the themes that Wolf has overtly explored but he often gets lost on his travels and reaches far beyond the subject matter.

Fans of his earlier work perhaps derive the greatest pleasure of all from listening to his new music and seeing him bloom because they’ve seen how dark and disturbing – but equally brilliant – his work can be (songs The Childcatcher and Lycanthropy from the Lyncanthropy album stand out as examples). Wolf’s deeply personal albums have attracted a committed fan base that’s grown to know and love Wolf (unfortunately for them, on New Year’s Day he announced his engagement to William Pollock via Twitter).

He opened his set with an energetic rendition of Overture that instantly rested fears that he would be fatigued from his packed Lupercalia tour (this was his tenth gig in thirteen days, and the nineteenth of forty-four shows planned overall).

The courageous Time of My Life and contented House came shortly after, and made it clear that Wolf was a man more at ease with himself than he has been when touring his past releases.

His latest album, Lupercalia, may be more accessible (apparently a criticism) than its predecessors but it follows on poetically from his previous album The Bachelor, in which he was at war with himself and the world (he sings in Battle: “Since I was 12/It’s been me versus the world/I got so sick of being told/My identity was in minority”). If he’d ventured any further down that path he would’ve reached self-destruction, so it’s surely a blessing that he’s fallen in love and is feeling at one with the world rather than rallying against it.

Possible Christmas-hit Time of Year was sandwiched in between the two songs, and will feature on Patrick Wolf’s upcoming EP Brumalia, due out on the 28th November.

He stormed through his timeless back-catalogue with both fervour and introspection, intermittently charming the crowd and giving a mention to relatives present.

The audience were particularly buoyed by The Libertine – from his 2005 Wind in the Wires albuma delightfully (and typically, for Wolf) poetic song that combines folk with electronica and talks of him running “the risk of being free”.

After covering Joni Mitchell’s All I Want, he went off stage momentarily and reappeared with a silver, glittery top that drew whistles and whoops from the audience. A wander into the crowd soon followed, and the manner in which the mesmerized audience parted to allow his 6’ 4” frame through, while desperately reaching out to make contact with him, displayed how in awe of Wolf his fans are. Admittedly, I succumbed to this feeling too, and it’s taken me up until now to get over the five seconds during which he held onto my arm.

For the encore he performed The Magic Position and summer-hit The City while wearing a stuffed-bird on one shoulder, and the wolfpack responded to the infectious songs with heartfelt howling and dancing.

As the audience flooded out of the venue, there was a collective feeling of sadness about the gig ending, but a sense of privilege for witnessing the genius of Patrick Wolf.

http://music.geeks.co.uk/live/1277-patrick-wolf-brighton-komedia-31111.html 

http://brightonlite.wordpress.com/2011/12/02/review-patrick-wolf-at-komedia/

Friday, 14 October 2011

UNARRESTED DEVELOPMENT

Despite its awards, its cult following and its widely acknowledged place in comedy history, Arrested Development is sorely underrated. 

Cancelled after two and a half seasons in the US due to low ratings, it was never, while on air at least, adored by the masses in the way that many critics believed it should’ve been. Admittedly, and to the frustration of my fanboy side still protective over the show, Arrested Development has since become rather more popular through word of mouth. Nobody has ever expressed anything other than confusion when I’ve mentioned it on this side of the Atlantic though, and I’ll continue to greedily cling on to that small consolation. (Arrested Development is not mainstream, mmkay?)

The show is a sitcom/mockumentary about, as the narrator puts it in the opening credits, “a wealthy family who lost everything, and the one son who had no choice but to keep them all together”. The acting is formidable, the on-set chemistry vibrant; you desperately want to believe that the sadly-fictional Bluth family exist in the real world. Seeing the mild-mannered and awkward George-Michael Bluth (Michael Cera of Superbad and Juno) mature into a young man with stronger convictions and self-assurance is not only brilliantly funny but also – am I allowed to say this? – life-affirming. There’s so much likeability ingrained in each and every character that you find yourself caring a little too much about what happens to them, whilst simultaneously trusting them to get through their respective ordeals with sufficient hilarity. 

The biggest draw of all is how grippingly intelligent the humour is. There’s no canned laughter; there’s intertextuality; there’s self-referencing; there’s topical jokes; and there’s an abundance of witty remarks and comebacks to die for. In other words, Arrested Development is the real deal. Debatable, yes, but I’m convinced that the only modern comedy that comes anywhere near to competing on the same level is the far-more-successful British sitcom, The Office.

The cast announced in an Arrested Development reunion that the shooting of a film is planned to start next summer so that means it’ll be… at least more than one year until the film hits the screens. Until then, buy the box set and marvel at the sheer genius of it - the development throughout the three series is anything but arrested.