Guildhall Shopping Centre, Queen St, Exeter EX4 3HP
Three months after our last visit, my wife and I were happy to return to the Exeter branch of Lebanese restaurant chain Comptoir Libanis on a special trip in honour of Veganuary.
Although neither of us are practicing vegans, we are both sympathetic to the vegan cause. My wife, to her credit, at least, had a fully vegan meal. I caved and chose to have some meat. But I won’t dwell on that.
The restaurant is, as before, welcoming and pleasant to visit. Staff are friendly and attentive. Even the toilets are nice with paintings of Hollywood stars of yesteryear adorning the walls. As a writer for Yours Retro magazine, I appreciated this.
The restaurant was also as good as it was before in catering for my nut allergy, removing all pistachios from the first course. Most restaurants have improved their standards on this recently, but there is still room for improvement at many.
Not here! They were great about it.
The restaurant seemed fairly quiet for a Friday night. January is, of course, traditionally a quiet month for restaurants. The other restaurants we passed looked quiet too. Comptoir Libanais looked quieter still.
The aubergine was very tasty, soft and held together well and each bite was accompanied by a pop of pomegranate freshness. This heat situation was, for me, made worse by the meal having far too much chilli on it. It practically blew the back of my head off and got my meal off to a rude start.
I much preferred the hommos, which had a smooth, creamy texture. The falafel was crunchy and the pink pickled turnip and mint provided a colourful combination. The spicy harissa sauce made it impossible to eat in full (for me anyway) though.
The tagine was perfect comfort food. The vermicelli rice made a nice change and there were peppers with aubergine, chickpeas, a tasty sauce with tomatoes and pomegranate seeds on top.
Which key events of the Roaring 20s are likely to happen again in the next decade? 1. A General Strike: possible but unlikely. 2. Stock Market Crash: very likely, but hopefully on a smaller scale. 3. Silly dancing trends, fashion and slang adopted: certain. 4. Republicans win 3 presidential elections as US retreats into isolationism: sadly seems very plausible. 5. Italy descends into fascism: I hope not! 6. Brits triumph at Olympics after running in slow motion to Vangelis music on a beach: er… 7. The Queen and Sir David Attenborough are born. Unlikely. In fact, probably quite the opposite? Happy New Decade readers!
As the rosette emblazoned (or, at least, drawn) on the cover reminds us, Viz has been doing this for forty years now.
Yes, that’s right. There have now been four whole decades of the popular British adult comic, which is ‘Not For Sale To Children’. In theory, this should mean it has now reached middle age or at least some semblance of maturity?
Has it though? Well, as Viz’s longest running character, the foul-mouthed TV personality, Roger Mellie, The Man on the Telly would say: “Hello, good evening and bollocks.”
In other words, “no”. As another publication which lasted in print for roughly half as long as Viz’s 40 years to date once memorably put it, this is a magazine “for men who should know better.”
This edition of the Viz annual, promises “a brassy fanfare of crowd pleasing blasts from issues 262-271.” So what’s included?
Roger Mellie appears opposite Gemma Collins on a celebrity version of Channel 4’s Naked Attraction. Aldridge Prior, The Hopeless Liar gets his perfect job: as President Trump’s press secretary: (“The President can do a one inch punch just like Bruce Lee and it would instantly kill you. FACT!”). Raffles, the Gentleman Thug is up to his usual tricks, (“Don’t forget your red flag, Bunny! We’ve got to absquatulate before the Scuffers get here!”). Old favourites return (“There is precious little sunshine for those living in the shadow of The Bottom Inspectors”), alongside strange newcomers (“Wally Walton’s Emergency Scorpion Squad and Wall To Wall Carpet Warehouse”). If you’ve read Viz before, you’ll know what to expect.
Viz has never been just a comic, however. Nearly half of it is made up of features usually satirising the celebrity-obsessed culture of the tabloid press. Highlights in this book include ’20 Things You Never Knew About Hats,” and a spoof of ‘Take A Break’ magazine called ‘Take A Shit’. There’s also a special festive edition of Roger Mellie’s Profanisaurus.
Mrs. Brady: Old Lady. Letterbocks. Gilbert Ratchet. Big Vern. The Broon Windsors (a bizarre amalgamation of the family from the long running comic strip, The Broons and the Royal Family). Mr Logic (“He’s An Acute Localised Body Smart in the Rectal Area”). I’ve really only scraped the surface of the world of Viz here.
Perhaps you think Viz is crude, vulgar and disgusting. Perhaps you think it is sometimes or often quite brilliant. You are both right.
Or as senile Daily Telegraph reader Major Misunderstanding says to an estate agent and his clients who he has mistaken for a group of young anti-Trump protesters, “Go back to your bedrooms and play on your ‘You-Tubes. Nobody cares tuppence for what you think.”
Chris Hallam has written a feature on Viz for the magazine, Comic Scene Volume 2, Issue 11, published in mid-December 2019
With the General Election just ten days away, around 300 people chose to brave the cold December Monday evening air to see four of the six candidates competing to be Exeter’s next MP answer a selection of selected questions submitted by the general public inside Exeter Cathedral.
Two of the candidates were absent: Former pantomime star Daniel Page who is running as an independent and the Brexit Party candidate, Leslie Willis did not attend.
The Liberal Democrats (who performed very poorly in the 2015 and 2017 elections in Exeter) also did not attend as they are not fielding a candidate in this election. The party agreed to step aside to the give the pro-Remain Green Party candidate Joe Levy, a clear run. The Labour candidate, Mr. Bradshaw is also very pro-EU. However, Labour’s overall position is seen as less unambiguously pro-Remain than the Greens. (This paragraph has been amended as of 8th December 2019).
None of the candidates are women: the first time this has been the case in Exeter since 1987.
After some initial sound problems, proceedings began. Although each candidate answered each question individually, I’ll deal with each candidate, one at a time:
Ben Bradshaw (Labour)
This is the seventh election in Exeter for Labour’s Bradshaw and as he won his biggest ever victory in 2017 with 62% of the vote, it must be assumed he is the favourite to win again his time. He performed strongly on questions ranging from climate change, homelessness, transport, Brexit and the party leadership. He lamented the fact that Labour’s successful record on reducing homelessness had been completely undone by the Tories since 2010 and complained that environmental targets would be threatened by us leaving the EU.
He resisted attacking the Labour leadership or predicting a heavy Tory win nationwide as he did in 2017 and provided a convincing defence of Labour’s proposed nationalisation programme. He criticised the First Past the Post system which he campaigned to reform in the 2011 referendum. He argued that the best way to stop Brexit was by electing as many Labour MPs as possible and followed Green candidate Joe Levy’s lead in deriding the notion that a Tory win would mean a quick and easy end to Brexit as a nonsense. He also asked voters to judge him on his record as MP for Exeter since 1997.
John Gray (Conservative)
The Conservative candidate began with an interesting question. How many of the audience had actually read the Conservative manifesto? Very few hands were raised. This would doubtless have produced a similar response if he had asked about the other party manifestos too. But it was a welcome piece of audience participation in an evening which generally did not involve much audience response, aside from clapping and occasional grumbling. Perhaps it would have been a different story if the pantomime man had turned up?
Elsewhere, Mr Gray gave decent, worthy answers, some of which were undermined by the government’s record. He was predictably negative about nationalisation, although not very specific on why and gave good answers on the environment. He argued, as the UKIP candidate did, that the 2016 Brexit vote represented the will of the people. His claim that an overall majority for Boris Johnson’s Tories would lead to a quick and easy end to Brexit was derided by Joe Levy and Ben Bradshaw. His portrait of a Labour government torn apart by coalitions and confusion was similar to the ‘coalition of chaos’ arguments deployed by Tories in 2015. Some in the audience might have reflected that the decade since 2010 has been spent almost entirely under Tory rule and yet has been almost entirely spent in coalition or/and hung parliaments. The last three years particularly have seen more political chaos than anyone can remember.
Later, he was laughed at by many in the audience after he asserted that “a vote for Labour is a vote for Jeremy Corbyn, while a vote for me, is a vote for a Conservative government.” Bradshaw and others were quick to note his failure to mention Boris Johnson at this point. Later, he attempted to endorse Boris Johnson again. It did not seem entirely convincing. However, in general, Mr. Gray performed well.
Joe Levy (Green Party)
As in the 2017 campaign, Joe Levy, though still in his twenties stood out as one of the most impressive figures in the debate, making a convincing case for such concepts as the introduction of a universal basic income and, of course, the urgency of the need to combat climate change.
He drew particular applause for his passionate advocacy of EU membership, arguing his grandparents had supported it for the simple primary reason that they remembered the Second World War.
He also made a mockery of the general Conservative claim that a Tory win will automatically lead to a simple straightforward Brexit. Mr Bradshaw, picked up on this, agreeing that it was one of the biggest and most persistent lies of the Tory campaign.
Duncan Odgers (UKIP)
Arriving slightly late, Mr Odgers annoyed many in the audience, by asserting early on that contrary to popular belief immigration is a major problem in Exeter, in fact, largely explaining why house prices are high. Elsewhere, he performed well on other issues, even acknowledging climate change exists. He argued against nationalisation and argued Exeter (which voted 55 to 45 to remain in the EU) should respect the will of the nation as a whole on Brexit even if the city mostly did not support it itself. He spoke of Brexit as if it was something destined never to happen now and called Jeremy Corbyn’s position of neutrality on the issue, “a disgrace”. Occasionally, he rambled slightly. He blamed overpopulation for many of our environmental problems, but did not say what could be done about it.
A persistent charge, which many would agree with, was that many people today have lost faith in the current crop of politicians. A wider issue which wasn’t addressed was whether the upper ranks of UKIP who have included the likes of Nigel Farage and Paul Nuttall in the past are really any more trustworthy.
Chris Hallam has written A-Z of Exeter: People, Places, History and co-wrote the book, Secret Exeter with Tim Isaac. Both are published by Amberley and are available now
On October 21st 1966, after a period of heavy rain, 30,000 cubic yards of coal sludge collapsed on 19 houses and a primary school in Aberfan with predictably devastating results. Episode 3 of The Crown focuses on he disaster and its aftermath. The Queen herself reacts slowly to the tragedy, forcing her to confront her own apparent tendency to react with the traditional stoicism and reserve to such events, rather than the public show of emotion which might be expected or even needed by the watching public in the media age. The monarch would, of course, fall foul of similar issues following the death of Diana, 31 years’ later.
The Crown is back. We rejoin proceedings at the dawn of a new era.
For after two glorious seasons with the marvelous Claire Foy playing the Princess and young Queen in her twenties and thirties, we now give way to the new age of Olivia Colman. The transition is neatly symbolised by a tactful discussion of a new Royal portrait for a new range of postage stamps. It is 1964 and the monarch is in her late thirties, what might normally be seen as her “middle years.”
“A great many changes. But there we are,” Colman’s Queen remarks. “Age is rarely kind to anyone. Nothing one can do about it. One just has to get on with it.”
Other changes are afoot too. Then, as now, a general election is in progress, resulting in the election of the first Labour Prime Minister of the Queen’s reign, Harold Wilson. Jason Watkins captures Wilson’s manner perfectly, although not yet his wit. In time, we now know Wilson would become the favourite of the Queen’s Prime Ministers. At this stage, however, both figures are wary of each other: the working class Wilson seems socially insecure and chippy while the Queen has heard an unfounded rumour from Prince Philip (Tobias Menzies – a good likeness) that Wilson is a KGB agent.
Elsewhere, another age comes to an end as the elderly Churchill breathes his last. In a rare piece of casting continuity, John Lithgow briefly resumes his role.
Suspicion also surrounds Surveyor of the Queen’s Pictures, Anthony Blunt. Although not exactly a dead ringer for the art historian and Soviet spy, Samuel West is well cast as Blunt. West is a fine actor anyway but his lineage here is impeccable. His mother, Prunella Scales played the Queen in the Alan Bennett drama, A Question of Attribution, which was about Blunt and which parts of this episode strongly resemble. Blunt then was played by James Fox, whose brother Edward, incidentally played Churchill in The Audience, the Peter Morgan play which inspired this series. West also played the Queen’s father George VI in the (not very good) film, Hyde Park on the Hudson. His wife, the future Queen Mother was played by one Olivia Colman. West’s father, Timothy, of course, famously played George VI’s grandfather, Edward VII (and also played Churchill, several times), while Colman won an Oscar for playing the Queen’s ancestor, Queen Anne in The Favourite, earlier this year.
Fellow Oscar winner, Helena Bonham Carter is, of course, now cast as the Queen’s glamorous but troubled sister, Princess Margaret here, replacing the excellent Vanessa Kirby. The makers clearly feel obliged to feature Margaret frequently in this episode, presumably because of Bonham Carter’s star status, but aside from much drinking, rudeness, singing and fretting about her wayward photographer husband Armstrong-Jones (Ben Daniels), who is pictured motorbiking about a lot, she does little of interest.
The next episode promises to be much more Margaret-orientated…
Book review: Why We Get The Wrong Politicians, by Isabel Hardman. Published by: Atlantic Books.
As British voters prepare to go to the polls for the fourth time this decade, it is well worth bearing in mind: the way we select our politicians is awful.
You don’t actually have to be rich to become an MP, but as Isabel Hardman’s book highlights, the process of standing for parliament is so expensive, time consuming and arduous, it’s a wonder anyone ever does it in the first place. Most candidates in the current general election campaign will never become MPs. And even if they do, the labyrinthine world of Westminster offers so little support to new members, that many of them will find themselves falling victim to alcoholism or marital breakdown. Of course, many also often find themselves subject to personal abuse, on Twitter, on nastier versions of blogs like this or in what is sometimes referred to as “the real world”.
Hardman (the Deputy Editor of The Spectator) admits to some well-intentioned sleight of hand here. Despite the book’s title, she is not actually attacking politicians as a class. She does not pander to the popular stereotype that all or even most MPs are lazy, out of touch or corrupt. Although she does not shy away from recounting examples of abuse, she reminds us that the vast majority of MPs are hardworking, dedicated people. Attending regular surgeries and hearing constituents’ problems arguably puts them more in touch with ordinary people’s problems than the average person.
Hardman’s argument is that the current system is deeply flawed, often resulting in unsatisfactory laws.
It is an excellent book and a difficult argument to refute.
Book review: Where Power Stops: The Making and Unmaking of Presidents and Prime Ministers, by David Runciman. Published by: Profile Books.
The premise is simple enough. David Runciman takes a look at some of the most interesting recent British and American leaders and sees what we can learn from their experiences of leadership. His choice of subjects is in itself fascinating.
Lyndon B. Johnson: a huge, cajoling, powerful figure, the choice of LBJ nevertheless seems slightly odd, simply because his tenure (1963-69) was so much earlier than everyone else included here. Runciman also inevitably relies on Robert Caro’s masterful biography of the 36th US president. Still unfinished, Caro’s magnum opus has barely touched on Johnson’s years in the White House yet. Let’s hope he gets to finish it.
Runciman has a talent for shedding new light on potentially over-familiar topics. All manner of leader is included here. Amongst others, the list includes: exceptional men who fell slightly short of the high hopes they raised on the campaign trail (Barack Obama), good leaders who trashed their own reputations on leaving office (Tony Blair), the highly intelligent and flawed (Bill Clinton and Gordon Brown), the decent but narrow (Theresa May) and the ultimate narcissist, the abominable showman (Donald Trump). The last of these should never have got close to power in the first place. Unhappily, he is the only one included here who is still there.
The fascinating story of the implosion of John Edwards’ 2008 presidential campaign will doubtless make a great film one day. As he never made it to the presidency, however, it doesn’t really belong here. But, overall, Runciman does an excellent job. The book is manna for political geeks like myself.
Steven Toast (Matt Berry) is an actor. He is not a very good actor or, indeed, a very good person. He is arrogant, short-tempered and a womaniser. He has no real sense of humour and doesn’t even seem to fully understand what a joke is. He has odd gaps in his knowledge: for example, he has never heard of ten-pin-bowling or Benedict Cumberbatch. For these reasons and more, he sorely tries the patience of his agent, Jane Plough (rhymes with “fluff”), played by Doon Mackichan.
He is the creation of star Matt Berry and co-writer Arthur Mathews. Three series of the sitcom ran on Channel 4 between 2013 and 2015 and are now on Netflix. A fourth series is on its way.
Most episodes of Toast begin in the same way; with Toast in a studio where he reluctantly fulfils a range of voice over commitments. This is one thing the real life Berry and the fictional Toast have in common (aside from both having a surname which is also a type of foodstuff): Berry, previously a star of The IT Crowd and subsequently a regular in vampire-based TV mockumentary, What We Do In The Shadows, has a gift for projecting his voice in an unusual and comedic way. Although his voice is now very recognisable, he has been recording voice overs, both serious and funny, for years.
These studio scenes provide some of the funniest moments in the series. At one point, Toast is inexplicably required to say “YES!” over and over again into the microphone. This may not sound funny, but is: trust me, few people can infuse the word “yes” with as much fury and gutso than Matt Berry.
Toast’s other voice over assignments include recording orders for a submarine, (including the sinister, “fire the nuclear weapons” delivered in a variety of accents) and dubbing a gay porno film.
Toast’s world is peopled by many strange characters. He lives with Ed (Robert Bathurst), a retired actor, living off royalties and permanently in his dressing gown. Toast’s brother Blair Toast (Adrian Lukis) meanwhile, is extremely reactionary and has a military background. He always refers to Toast as “Toast” rather than “Steven,” even though he is called “Toast” himself.
Then there is Toast’s nemesis, Ray Purchase (Harry Peacock), also an actor who wears a white suit, in contrast to Toast, who always wears black. The two despise each other, no doubt in part, because Toast is openly sleeping with Purchase’s wife, always referred to as “Mrs. Purchase” (Tracy–Ann Oberman).
The cast is excellent. Berry’s House of Fools’ co-star Morgana Robinson appears at different times in three different roles and Vic and Bob make appearances. There are also an impressive range of cameos. Amanda Donohoe plays Toast’s faithless ex-wife while Brian Blessed, Timothy West, Jude Law, Jon Hamm, Peter Davison and Michael Ball all make appearances.
The series is not quite set in the real world: even the people sitting in the background in Toast’s pub are dressed bizarrely and the deaths of Bob Monkhouse and Francis Bacon, as well as the fact, the Globe Theatre burnt down in the 17th century, are deliberately ignored.
Personally, I could have done with fewer musical interludes from Berry. Although I enjoyed the theme tune (which he composed) and the version of Ghost Town by the Specials which he performs in one episode (now sadly removed), too many of his songs are too melancholy in tone for what is essentially a zany comedy series.
But this is essentially a class act from one of the leading British comedy acts to emerge this century. More please! Encore!
Quentin Tarantino – The Iconic Filmmaker and his Work, by Ian Nathan. Published by White Lion
One day, nearly thirty years ago, a young bearded man in a black suit ran across a road and was immediately hit by a car. Despite flying into and breaking the car’s windscreen, the hoodlum is soon on his feet again and pointing a gun at the unfortunate driver. As the scene is filmed from the driver’s perspective, it almost feels like we, the ones in the audience, are the ones being carjacked.
The carjacker was one ‘Mr Pink’ played by Steve Buscemi. The film was Reservoir Dogs and with its release, the career of film director, Quentin Tarantino had begun.
The years ahead would see the film’s director, Tarantino become so cool that for a while, it seemed possible that the name ‘Quentin’ might actually become cool in itself. In the end, despite the continued popularity of artist Quentin Blake, this never quite happened. But, as with his earlier fine, nicely presented coffee table books on the Coens and Tim Burton, distinguished film critic, Ian Nathan’s book on the video shop employee turned director, reminds us why Tarantino largely deserved all the subsequent fuss that was made about him.
The 1990s was a great time for Tarantino. Reservoir Dogs, a film about a robbery we never see and notorious for an ear removal scene we also never see, featured career-best performances from all its excellent all-male cast. Perhaps only Harvey Keitel and Steve Buscemi have done better work elsewhere and even they are better in this than anyone else.
Why is it called Reservoir Dogs? The book suggests the issue – as with the answer to the question, “who shot Nice Guy Eddie?”- is a mystery known only to Tarantino himsel). My own theory: the main characters’ behaviour resembles a pack of wild, stray dogs living near a reservoir, fighting each other, betraying each other to survive. But I’ve no idea whether this has any basis in fact. Do stray dogs even live near reservoirs and behave like this? I’ve no idea.
The Nice Guy Eddie ‘mystery’ is more easily explicable, however. The ‘shooting’ of the character, played by the late Chris Penn, was actually the result of a technical error. The ‘squibs’ which stimulated his gunshot wounds went off, exploding prematurely. Tarantino, cannily recognising the potential for controversy, deliberately left the mistake in the finished film. So basically nobody shot him.
Next up, was Pulp Fiction, the film where Tarantino fulfilled his promise. Then came Jackie Brown, the Kill Bills, Inglourious Basterds, the westerns and this year’s triumphant but flawed Once Upon A Time in Hollywood. I am fully aware I have not covered Tarantino’s body of work fully here. Rest assured: Ian Nathan does. The lone exception is Once Upon A Time… which is touched upon, but was obviously released too late for the book.
But in every other respect, as a crash course in Tarantino, this is second only to watching the films themselves.