If you studied English at secondary school during the 1990s, there is every possibility you will remember reading the book, Empty World, by John Christopher.
The book tells of a disease which originates in Asia before rapidly spreading across the world and devastating the global population. Although published in 1977, with the world currently seeking to combat the spread of the Chinese Coronavirus pandemic, the book obviously has plenty of resonance to anyone reading it in 2020.
The novella focuses on a teenaged boy, Neil Miller. Neil is living with his elderly parents after having been orphaned in a road accident when he first begins to hear news reports of a new mysterious disease coming out of India. Initially, just a minor story chuntering away in the background, concern rises as the ‘Calcutta Plague’ spreads further and further across the world. Soon there are rumours it has arrived in Britain. Neil’s grandfather is old enough to remember the Second World War. He suggests spreading rumours should be made into a punishable offence again, as it was then.
Soon the Calcutta Plague’s presence in Britain is beyond doubt. One of Neil’s elderly teachers succumbs to it as do both his grandparents. The disease takes the form of a fever, before generating symptoms which appear to emulate a very rapid version of the ageing process. This is not very similar to COVID-19 at all, although the fictional plague does attack older people first. Eventually, it becomes clear that it is infecting pretty much everyone including some children Neil knows of his age (fifteen) and younger. This resembles the progress of COVID-19 in some respects. The elderly are undoubtedly being hit harder by the virus although contrary to early rumour, children can get it badly and die from it too.
The key difference, however, is that while the vast, overwhelming majority of people who get COVID-19 survive, with the exception of a few random people like Neil who get the initial fever but subsequently seem to be immune, the fictional Calcutta Plague kills anyone who gets it. As the title suggests, the book is essentially apocalyptic. Neil finds himself roaming or driving down completely empty streets, looting empty shops and battling an inevitable brief explosion in the rat population, the disease having killed nearly every human on the Earth.
As terrible as COVID-19 is, we should be grateful it is not quite as bad as that.
Spaced is the story of Tim and Daisy, two young people in need of somewhere to live.
Daisy is a frustrated writer, keen to escape life in a squat. Tim is a small-time cartoonist who has been forced to move out after discovering his girlfriend has been having an affair with his best friend.
Together they hatch a plan. Despite not being a couple or even friends really (they have met by chance in a café), having spied a reasonably priced flat to rent advertised as being only available to “professional couples only,” they decide to present themselves as a happily married couple to the apartment’s landlady.
This in essence is the premise of Spaced. Although as Tim himself would say, “it’s a bit more complicated than that.”
Spaced ran for two series on Channel 4 in 1999 and 2001 and proved the perfect calling card for its two writers and stars, Simon Pegg (Tim) and Jessica Stevenson (now Jessica Hynes, who plays Daisy) with the show’s unseen force, the hugely talented director, Edgar Wright also making an impact.
Straddling the millennia, technically only the second of the two series is a 21st century sitcom and thus eligible for this list. But who cares? Both series are great anyway, for a number of reasons…
Firstly, whether its Tim railing against the evils of Star Wars: The Phantom Menace (a film which Peter Serafinowicz who plays his hated love rival, Duane Benzie actually features in), Daisy attempting to write her masterpiece to the theme from Murder She Wrote, or Wright skilfully evoking memories of Stanley Kubrick’s The Shining, Spaced is packed to the brim with clever popular culture references.
Secondly, many of the episodes are masterpieces in their own right. Tim and his war-obsessed friend Mike played paintball, long before the guys on Peep Show or US shows like Big Bang Theory and Community did it. Another episode skilfully turns the TV show, Robot Wars into a real life conflict while ‘Gone’ sees the stars engaged in an ingenious mimed gun battle governed by ‘masculine telepathy’ at the end of a drunken night out. And that’s not to mention the celebrated Epiphanies episode in which Tim’s odd friend Wheels (Michael Smiley) takes the gang clubbing.
Then, there’s the brilliant supporting cast. Pegg’s real life best friend and flatmate, the then unknown Nick Frost plays Tim’s war-obsessed pal, Mike, a man once expelled from the Territorial Army for “stealing a tank and attempting to invade Paris”. Or Brian (Friday Night Dinner’s Mark Heap) an eccentric artist who has an ‘arrangement’ with landlady, Marsha (Julia Deakin). There’s also a supporting cast which includes a whole host of rising comedy stars including David Walliams, Paul Kaye, Bill Bailey and Ricky Gervais.
But finally there’s the best reason of all: Spaced is likeable, endless quotable, highly watchable and very, very funny.
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!
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.
For 2,000 years, the Devon city of Exeter has played a small
but vital role in our nation’s history. There have been highs and lows. For
centuries, it was one of the top cities in the land, elevated into a golden age
of prosperity. But the city has also suffered countless incursions from a wide
range of invaders both foreign and English. It came close to defeating William
the Conqueror, remained defiant in the face of German bombing, fought on both
sides in the English Civil War and has battled fires, plagues, sieges and
pretenders to the throne.
This is Exeter’s story, told
for the first time in alphabetical order.
Chapter headings include:
The Civil War
The Exeter Blitz
The Great Theatre Fire
Witches on trial
Chris Hallam was born in Peterborough
and settled in Exeter in 2005 where he now lives with his wife. He has written
for a large number of local and national magazines including DVD Monthly, Yours
Retro, Infinity, Geeky Monkey and Best of British. He also wrote The Smurfs
annual 2014 and co-wrote the book, Secret Exeter in 2018.
Reproduced, with thanks, from Bingebox magazine (2016):
It seems like a familiar sight. A lone sultry and very famous singer delivers a seductive performance of “happy birthday” to the birthday boy, actually her secret lover, who also happens to be her leader. But as she reaches the third line, something jars. The words change and things take a chilling turn. “Happy birthday…Mein Fuhrer,” are the star’s next words. For while this is Marilyn Monroe, she is not singing to President Kennedy, the charismatic young American president but to … someone else entirely.
So, begins the trailer for the second season of Amazon Prime’s, The Man In The High Castle. And as if we didn’t know already, this is a world in which history has taken a very different turn from our own. And not for the better.
THE REICH STUFF
of The Man In The High Castle stems from the endlessly fascinating question;
what would the world be like, had Nazi Germany and imperial Japan triumphed at
the end of the Second World War instead of the Allies, (that is the United
States, Soviet Union, British Empire and others)?
It was a
question which once haunted the feverish, troubled but hugely imaginative mind
of author Philip K Dick. The man whose writing ultimately inspired many of the
greatest science fiction films of all time including Blade Runner, Total
Recall, Minority Report and The Adjustment Bureau, Dick been just too young to
fight for the US in World War II himself but nevertheless realised what a close
thing the outcome of the war had been. Over fifty years’ ago, inspired by
another novel which convincingly imagined a victory for the slavery supporting
Confederacy in the 1860s American Civil War, he set to work producing a book
depicting a similar alternative ending to World War II.
Prone to hallucinations and sudden bouts of paranoia, Dick had a relatively short turbulent life, dying in 1982, aged just 63 without seeing most of his work reach the screen. But he enjoyed probably more success The Man in High Castle than with any other book during his lifetime.
WELCOME TO AMERICA: 1962
season of The Man In The High Castle in 2015 brought the book’s chilling vision
vividly to the screen. The United States of America we know from this period
(portrayed in the early series of Mad Men, amongst other things) was confident,
victorious and powerful poised on the verge of huge successes such as in the space
race, but also riven by racial division and on the brink of disaster both in
the Cuban Missile Crisis and in the growing war in Vietnam. But the America portrayed
here is very different: it is no longer in fact, even the “United States” at
all. We soon learn that the west coast of the former USA is now under the
control of the victorious Japanese while the eastern bit is under Nazi German rule.
The Rocky Mountains meanwhile are a neutral buffer zone between the two sides,
this being where the mysterious “man in the high castle” is said to reside.
Tantalising hints as to what has befallen the
Allies are scattered liberally throughout both the series and the book. One
character suggests the great war leader President Franklin D. Roosevelt was
assassinated long before the war started in this reality, perhaps explaining
why the US did not win. Another suggests that the war dragged on until 1947 instead
of 1945 here, only ending when Nazi Germany dropped an atomic bomb on Washington
land then and few of the characters we meet are not facing a conflict of the
loyalty of some sort or another. With the first season still on Amazon Prime
some might want to steer clear now. But for everyone else, here’s a quick
Francisco resident Juliana Crane (Alexa Davalos) for example, an expert in
aikido appears happy living under Japanese rule at the start of Season 1. That’s
until her half-sister Trudy who turns out to have been a member of the
anti-government Resistance, is unexpectedly killed. Juliana finds herself drawn
herself into the work of the Resistance as she attempts to complete Trudy’s
last job: delivering a tape entitled The Grasshopper Lies Heavy to the mythical
man in the High Castle. Intriguingly, the tape depicts an alternative version
of history in which the US and the Allies defeated Germany and Japan!
Essentially, the world in the tape is very like our own.
aided and abetted by her boyfriend Frank Frink (Rupert Evans) a man enjoying
some creative success but who has a dark secret which pushes him closer and closer
to full blown rebellion: he is Jewish. Joe Blake (Luke Kleintank) meanwhile
faces conflict of a different sort. Although supposedly a member of the
Resistance he is in fact a secret agent in the employ of SS Obergruppenfuhrer
John Smith (Rufus Sewell). Although very clearly a baddie, Smith is far from
the typical stereotypical black and white Nazi villain. As his name suggests,
he is an American-born participant in the new regime. A family man living a
comfortable suburban life, it is suggested he has been drawn to Nazism by the
apparent failure of the old American system in the Great Depression of the
Thirties. Trade minister Nobusuke Tagomi (Cary-Hiroyuki Tagawa) is yet another
character who finds himself torn between conflicting loyalties. The new series
also sees Chief Inspector Kido (Joel de la Fuente) begins to take more interest
in the Man in the High Castle.
Juliana, increasingly unsure what to do about the treacherous Joe, Joe doubting
his own continued commitment to the Third Reich, Smith increasingly doubtful
about the Nazi philosophy after the illness of one of his children, more revelations
from The Grasshopoper Lies Heavy tapes and mounting tensions between Germany
and Japan, the ten hour long episodes of Season Two of The Man In The High
Castle promise to be just as compelling and as full of intrigue as the first.
At the root
of the series’ success however is its authentic portrayal of a chilling but
plausible alternative version of American history that though perhaps a touch more
plausible in the wake of Donald Trump’s recent election victory, has mercifully
WHO’S IN IT?
starring role of Juliana Crain, French-born Alexa has appeared in a good range
of TV (Angel, Mob City) and films (notably The Chronicles of Riddick and Clash
of the Titans).
With a key role
in Ewan MacGregor’s recently released directorial debut American Pastoral,
British actor Evans who plays Frank Frink has been in plays, TV and film
aplenty, notably offbeat superhero flick Hellboy.
Instantly recognisable as the older man love interest Lord Melbourne in the recent ITV Victoria, Sewell, also British, has been playing sexy villains for years in A Knight’s Tale, The Legend of Zorro and other films and TV.
Reproduced, with thanks, from Bingebox magazine (2016):
Send her victorious? As
the dust settles, ITV’s Victoria is widely seen as the winner of this autumn’s
big ratings battle with BBC’s Poldark. But whatever the outcome, both are
likely to be big sellers on DVD this Christmas.
In retrospect, with its
attractive cast and sumptuous period setting, it might seem hard to see how
Victoria could have failed. But fail, she very easily could have. A few months
ago, Jenna Coleman’s post-Doctor Who credentials were unproven. But as the
teenaged Queen assuming leadership of the greatest empire the world has ever
seen, Coleman has triumphed, her decision to forsake the TARDIS, totally
Her on screen romances with
her first Prime Minister Lord Melbourne (played by aging sex symbol, Rufus
Sewell) and more famously German aristocrat, Prince Albert (Tom Hughes) were
also well received. Although given that Coleman is already far more attractive
than the real Queen Victoria ever was and that her infatuation with Melbourne
along with much of the plotting which makes up much of the storyline is largely
fictional, the series soon faced charges of historical inaccuracy.
But unlike the last
attempt to tackle this subject matter – 2009’s film The Young Victoria – this
is a success. Perhaps it is fitting that that earlier film was written by
Downton Abbey creator Julian Fellowes. For it is in Victoria, that ITV has
truly found a period drama to compare to Downton’s level of success. Long live
The wilds of late 18th
century Cornwall have proven fertile ground for drama before. First, there was
Winston Graham’s dozen or so hugely successful Poldark novels. Then there was
the hit 1970s TV series. Finally, there was last year’s BBC ratings smash
Poldark starring Aidan Turner. It was only a matter of time before Poldark
returned. With the second outing proving another success, both recent series
are available on DVD and Blu-ray now.
This is perhaps
inevitably a sexier affair than the 1970s series: recognising this, Turner is
required to take his shirt off in the first episode of the second series. But
let’s not get carried away: were Poldark not compelling, well-acted, authentic
and reasonably faithful to its source material, it would never have worked. The
second series begins where the last one finished: with Ross accused of murder.
Thanks to this and the
likes of War and Peace and The Night Manager, the BBC has had a good year for
TV drama in 2016. But while one wouldn’t want to rain on Poldark’s undoubted
success, it is worth noting that Poldark though screened on BBC One was, like
Victoria, made by ITV Studios. With ITV also behind a number of the notable
period drama hits of recent years such as Downton Abbey and Mr Selfridge, is it
conceivable the Beeb’s status as the home of British period drama could be
under threat? Only time will tell.
WHO’S IN IT?
A familiar face to many
already thanks to roles including the poet Rossetti in TV’s Desperate
Romantics, as the conflicted vampire in Being Human and Kili in the Hobbit
films, the Irish actor’s dark brooding sex appeal as Ross Poldark has
undoubtedly smoothed the show’s path to success.
As Ross Poldark’s beautiful second wife Demelza, Eleanor Tomlinson has seen her star rise considerably. A film actress since her early teens, her CV includes major supporting roles in big screen flop, Jack The Giant Killer and BBC War of the Roses historical drama, The White Queen.
As the ruthless, arrogant and determined power-hungry banker George Warleggan, Jack Farthing has essentially taken the role of Poldark’s villain. A theatre actor, the Oxford-educated Farthing is best known for posh roles such as Freddie Threepwood in P.G. Wodehouse adaptation Blandings and for Oxford University-based film drama, The Riot Club.
Book review: Cult Filmmakers: 50 Movie Mavericks You Need To Know. By Ian Haydn Smith. Illustrated by Kristelle Rodeia. Published by: White Lion. Out now.
What makes a cult filmmaker? The key qualities seem to be distinctiveness and a degree of obscurity. Hitchcock and Spielberg were and are great filmmakers, but both are much too famous now to be included in a volume like this. Hitchcock might have appeared once. Spielberg too, perhaps in the brief interim after the release of Dual but before Jaws. But not now.
Indeed, it could argued that just by highlighting the fifty directors included in this volume in a book specifically titled, ‘Cult Filmmakers’, author Ian Haydn Smith is simultaneously undermining their cult status as much as he is re-enforcing it.
That is not to attack the book, which is a good one. The author’s choices are intriguing and it is almost as interesting to see who has been left out as it is to see who has been included. Sam Raimi doesn’t feature. Nor does Wes Anderson or the Coens. Presumably, the men behind The Evil Dead, Blood Simple and Rushmore would have been considered cult filmmakers once. However, they are now ineligible as they’ve all moved onto more mainstream successes as the men behind Spiderman, Intolerable Cruelty and Isle of Dogs.
But if this is the reason, it’s odd that the likes of Quentin Tarantino, Tim Burton and Kathryn Bigelow are. Other selections are less contentious: David Lynch, David Cronenberg and ‘Pope of Trash’ John Waters, have all achieved fame, while retaining their cult status. Some such as John Carpenter seem to have lost their initial cultiness, only to later recapture it.
The book is stylishly illustrated by Kristelle Rodeia. Occasionally, the pictures look nothing like their subjects e.g. Terry Gilliam. It doesn’t matter.
Personally, I am most grateful for the chapters shedding light on Amat Escalante, Benjamin Christensen and Barbara Loden, amongst others. Until this book, they were undeniably in my eyes, cult filmmakers: I had never heard of any of them. But now I do. And this can only be a good thing.
The answer lies within Chris Mullin’s excellent 1982 novel, A Very British Coup. Written in the dark days of early Thatcherism, Mullin envisaged a future (the late 1980s), in which Perkins, a working-class hero and onetime Sheffield steelworker leads the Labour Party to an unexpected General Election victory on a manifesto not dissimilar to the one Labour lost on in 1983. Perkins’ Labour Party is thoroughly socialist and the new government quickly embarks on fulfilling the radical agenda it has been elected on: dismantling Britain’s nuclear deterrent and leaving NATO, breaking up the newspaper monopolies, redistributing wealth and more.
Needless to say, the establishment: the civil service, the media and the security services are horrified. They immediately begin conspiring with the US (who, viewing things through a Cold War prism, see Britain as having “gone over to the other side”) in a bid to thwart the programme of the democratically elected government. It is a great read.
Mullin was writing at a very volatile political time. In 1980, the new Thatcher government was already proving to be such a complete disaster that it seemed hopelessly doomed. For much of 1981, the SDP, not Labour, seemed set to replace them. By the post-Falklands summer of 1982, the resurgent Tories again seemed unbeatable, as indeed, proved the case, the Iron Lady having staged her own very British coup in the South Atlantic. We are in very volatile times again now. The future in the Brexit era is very hard to foresee.
In this long-awaited sequel, Chris Mullin (now a former Labour MP himself) creates a convincing near future which cleverly not only seems sadly only too plausible but which also makes sense in the context of what has happened in the earlier book.
It is the 2020s. With Brexit having proven a miserable failure, serious consideration is being given to a humiliated Britain going crawling cap in hand and applying to rejoin the EU. Trump has left office, but has left the international situation thoroughly de-stablised. Today’s leaders have left the political stage. A King is on the throne, as he was in the earlier novel. Labour seemingly locked in perpetual opposition under an ineffectual woman leader seems poised for a takeover by the former aide of the recently deceased former Prime Minister, Harry Perkins, Fred Thompson (Mullin isn’t much of a one for glamorous character names). As so often happens, Perkins, the scourge of the status quo in life is now hailed by left and right alike as a great leader of the past, now he is safely dead. Thompson was played by Keith Allen in the acclaimed 1980s TV version of the book is still middle aged (Mullin admits to some authorial sleight of hand here: only ten years have passed since the events of the first book, not thirty or forty).
But can Fred Thompson succeed in leading Labour back to power and restoring Britain to it’s former glory? Will his family difficulties or a rising tide of violence threatening to engulf British politics get in the way?
The Daily Telegraph describes this book “preposterous.” Presumably, they mean “preposterous” in the sense that it doesn’t mindlessly back Brexit or shamelessly back Boris Johnson’s leadership bid as that newspaper did.
This is perhaps – like Thompson himself -not quite the equal of its illustrious predecessor. But it is a fine sequel and an excellent, short-ish read.
Director Stanley Kubrick considered withdrawing the film soon after release in response to tabloid reports that groups of young men had been launching ‘copycat’ manned space expeditions to the planet Jupiter.
Conspiracy theorists have speculated that Kubrick made the film as part of a plot to fake the 1969 Apollo 11 moon landings. This is, of course, nonsense. He was already too busy faking the Vietnam War.
The final line of the film is “My God! It’s full of stars!” This claim is untrue: in fact, there are no Hollywood stars in it. Leonard Rossiter is literally the most famous person in the film and even he hadn’t been in ‘Rising Damp’ then.
The apes at the start of the film are speaking in genuine prehistoric dialect. Roughly translated, they are saying things like: “God, this is taking a while to get going isn’t it?” “Hey! Watch what happens when I throw this bone in the air!” and “Shit! Where did that big black thing come from? That wasn’t there just now…”
Ever the perfectionist, Kubrick made one extra throw the bone in the air 7,674 times, even before he switched his camera on.
The song ‘Daisy Bell’ was not Kubrick’s first choice for the famous HAL shutdown scene. He had originally planned to use the song, ‘Cinderella Rockerfella’ sung in duet with another computer voiced by Barbara Streisand. This didn’t happen only because Kubrick never thought of it.
Although authentic-looking, very few of the scenes were actually shot in space.
Stanley Kubrick originally planned to film the movie in real time, starting in the prehistoric era.
Some viewers reported finding the film overlong. Some even claimed it was longer than the actual year, 2001 itself, including those who had watched it during the year, 2001.
A pilot for a spin-off TV sitcom , ‘You Can Call Me HAL,’ in which the computer sang ‘Daisy Bell’ during the credits and occasionally killed people was made, but never aired as it was shit.
Some have noticed that if you move the letters of the name ‘HAL’ one letter back in the alphabet it spells out the initials: ‘GZK’.
Things which the film predicted correctly about the year 2001: there would be some were people around doing stuff with computers and space. Things it got wrong: manned space expeditions to Jupiter, computers don’t usually take that long to shut down, classical music wasn’t that popular.
Kubrick was reportedly disappointed that very few people really thought the flying bone had actually turned into a spaceship.
He also was surprised so many people guessed the ‘twist’ that the planet of the apes at the start was supposed to be Earth.
Alternative names for the film which were considered were: Million Dollar Space Baby, The Keir Dullea Movie, Monolithicent, Kubrick’s Pube and The Apes of Wrath.
Ten ways in which the world would really have been different without the Fab Four…
The hit Danny Boyle film, Yesterday envisages a world in which the biggest band of all time had never existed. But what if they really hadn’t? Consider…
First things first: the early series of Thomas The Tank Engine would not have been narrated by Ringo Starr. Someone else would have to have been found to do it instead, wasting considerable time and expense.
The career of the talented multimedia artist, Yoko Ono would have been allowed to continue without interruption, rather than being crudely sidetracked.
“Yellow matter custard dripping from a dead dog’s eye, crabalocker fishwife, pornographic priestess, man, you been a naughty girl, you let your knickers down, I am the eggman, we are the eggmen, I am the walrus, Goo goo g’joob”. Out of context, such lyrics would just sound like drug-induced nonsense. Imagine!
The career of fashion designer Stella McCartney would never have happened. This would obviously…er…have huge effects for everyone.
It is quite likely (although not certain) Linda McCartney’s vegetarian and vegan food range, would not have been launched. Julian Lennon would have not had a 1984 number 6 hit with ‘Too Late For Goodbyes’ either.
Pete Best would probably feel better about how his career has gone.
None of the Beatles’ post-Beatles careers would have occurred. Imagine no Mull of Kintyre. No Frog Chorus. So This Is Christmas. Imagine no…Imagine.
The film explicitly stated that the Beatles-influenced Oasis had never existed either, in which case, isn’t it a bit surprising Jack didn’t have a go at an Oasis track too? Although perhaps not Cigarettes and Alcohol, as cigarettes are another one of the things that don’t exist in this world. One wonders if Oasis would still have existed in some form anyway or how strongly they or other bands would have been affected by the Beatles’ absence. Would Madonna sound the same? Would Lady GaGa? Would Martin Amis have written in the same way? Ultimately, we will never know.
The Monty Python film, The Life of Brian would not exist as it owes its existence to George Harrison financially bailing the film out, as he wanted to see it himself. Eric Idle’s post-Python parody, The Rutles would also not exist.
Needless to say, the Beatles’ films, A Hard Day’s Night, Help! and Yellow Submarine would never have been made without The Beatles. Nor would any films inspired by them such as Backbeat, the little-seen Across The Universe. Or Yesterday.
Lolly Adefope, Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, Charlotte Ritchie, Kiell Smith-Bynoe, Ben Willbond, Katy Wix
The spirit of Rentaghost is resurrected in this recent BBC sitcom, the highest rated British TV comedy series of 2019 thus far.
Charlotte Ritchie and Kiell Smith-Bynoe play Alison and Mike, a young married couple whose lives are transformed when Alison unexpectedly inherits a large, but dilapidated rural manor house, following the death of an unknown elderly aunt.
The house contains many secrets, however, not least a large party of ghosts who dwell within. All are from different historical time periods and all are invisible to most normal humans, ensuring their initial attempts to haunt the house’s new owners all in vain, rather like the Tim Burton film, Beetlejuice. This changes when Alison (Ritchie star of Fresh Meat and Call The Midwife) bangs her head in an accident. Soon, she alone, can see the home’s phantom residents, whether she wants to or not.
The ghosts – all played by the former cast of the acclaimed Horrible Histories and Yonderland and who, mostly, also wrote this – are, of course, the chief source of fun here. Mathew Baynton (The Wrong Mans, Quacks), for example, plays a romantic poet hopelessly besotted with the still very much alive and married Alison, while Katy Wix (Not Going Out) plays the ghost of a slightly charred 17th century peasant woman apparently burnt to death for witchcraft.
Most hilarious are the great Simon Farnaby (The Detectorists and, appropriately, the man who sang ‘Stupid Deaths’ on Horrible Histories) as a disgraced 1990s Tory politician, still massively pompous, despite now being permanently trouser-less having died in some unspecified sex accident. Laurence Rickard also works wonders as Robin, (“bum and chips!”) a caveman, who lived on the grounds of the estate, long before it was built.
How did such a random assortment of characters ever come to live in the same house, even at different times? Why does every one of the Ghosts seem to have died prematurely? Doesn’t it all feel a bit like a children’s programme? Ultimately, none of these things really matter. Were it not for the presence of a few deliberate adult references (including a brief appearance by a genuinely scary child ghost), this would fit in perfectly well on CBBC.
Again, though, this hardly matters. Occasionally, Ghosts’ large regular cast works against it and the show is overwhelmed by chaos and silliness. But overall, this is good fun from a talented bunch of actors and writers. If your mansion house needs haunting, look no further.
People all over the land have been thrilling to the antics of the huge lumbering giant BFJ, otherwise known as Boris Fucking Johnson.
“I love how he uses funny long words which nobody understands, ” says Colin, 66, from Kent. “Like ‘rambunctious’ and ‘flibbertigibbet’. I also like how he travels to lots of different countries all around the world, really fast.”
Miranda, 44, from Chelsea, also enjoys Boris Fucking Johnson’s adventures. “He’s always saying the wrong thing!” she laughs. “He blows dreams into people’s ears. Mainly dreams about the UK benefiting economically by leaving the European Union.”
Boris Fucking Johnson has definitely NOT been seen enticing young women out of their windows as some have claimed.
Other, less popular recent characters from the same stable include Danny Alexander: Champion of the World, James Brokenshire and the Giant Speech, George Osborne’s Marvellous Economic Medicine and The Fantastic Dr. Liam Fox.
Gratefully reproduced from Bingebox magazine (2016):
THE WEST WING
Welcome to the presidency of Josiah Bartlet. During the
seven season run of Aaron Sorkin’s award-winning series, we see the fictional two-
term administration take a rollercoaster ride through crises (a major
assassination attempt and an attempt to kidnap the president’s daughter),
scandal (is the president concealing something important from everyone?),
disaster (a major nuclear accident in California), numerous triumphs and many
other matters, some of global import, some, such as the president falling off a
bike in public, more trivial.
In truth though, this is not just the story of a president but of the talented team behind him. In what may prove to be career-best role, onetime Brat Packer Rob Lowe excels in the first four seasons as razor-sharp speechwriter Sam Seaborn with Bradley Whitford, Alison Janney, Richard Schiff, John Spencer (the last of whom sadly died just as the final season was coming to an end) leading a stellar cast who make up the president’s White House west wing team.
Occasionally, things may get a little too bit earnest. Is
everyone in US politics really so well-intentioned and decent as they are here?
It’s actually something of a relief when Bartlet’s vice president John Hoynes
(Tim Matheson) turns out to a scheming, malevolent toad.
Ultimately, however, for all of its high powered “walk and
talk” conversations and highly-charged content, The West Wing was just as popular
amongst those with little or no interest in current affairs at all as it was
amongst battle-hardened political junkies.
Ten years after it finished, The West Wing, often funny,
sometimes moving, has scarcely dated at all. If you’ve never seen it before,
now is the perfect time to catch up with an all-time classic.
Box out: All The
President’s Men (and Women)…
Three of Bartlet’s
best and brightest…
Josh Lyman (Bradley
Idealistic, witty and argumentative, communications deputy
Josh is devoted to Bartlet, having previously backed his opponent John Hoynes
who is now the Veep. Badly wounded in
the attempt on the President’s life.
CJ Cregg (Alison
In a career-defining role, Janney is perfect as the sharp,
sassy and on the ball press secretary CJ. And just as Josh secretly yearns for
his assistant Donna, CJ loves beardy journo, Danny.
Josiah “Jed” Bartlett
POTUS himself, the president is sort of an older wiser less
promiscuous version of JFK (a role Sheen once played memorably on TV). Jed is
ably supported by his First Lady Abby (Stockard Channing).
HOUSE OF CARDS
If The West Wing offers an optimistic view of the American
political scene, House Of Cards represents its dark underbelly. In that
respect, perhaps it is ideal viewing for the era of Hillary Clinton and Donald
For make no mistake, from a fairly early stage, it is clear that the main character Frank Underwood (Kevin Spacey) is a very bad man indeed. We know this because of the way he speaks. We know this because of the things he does. And finally, we know this because he tells us so himself, confiding in us his every passing evil thought and deed.
It is this Shakespearian device which sees Underwood sharing
his thoughts with the audience – sometimes just in the form of a wry smile to
the audience (of course, always unseen by whoever Frank is talking to and
presumably screwing over at the time) – which makes us feel complicit in his
crimes. It was an appealing device when Ian Richardson (like Spacey, a
Shakespearian actor) played the equivalent role of an upper class English Tory
politician in the original version of House of Cards, 26 years ago. It works
just as well now.
We watch Underwood climbing the greasy pole rising from
party whip (being snubbed by being passed over for his promised position of Secretary
of State) rising to Vice President and beyond. We watch him lie, cheat, have
affairs and commit murder but we’re basically rooting for him. We want him to
For yes, Frank Underwood is a very bad man. But some of us
do like bad guys. The problems begin when too many of us start electing them
into positions of power.
Box out: Axis of
Three of the main
players in this game of thrones…
Frank Underwood (Kevin
US Democratic Party politician. Likes include: cooked
breakfasts, the South, exercise, sex with young female reporters, murder,
blackmail, gradually accumulating political power over a period of time,
breaking the Fourth Wall.
A million miles away from her breakthrough role as the
Princess Bride, Wright is brilliant as Frank’s wife and partner in crime, a
character every bit as ruthlessly ambitious as her husband.
Doug Stamper (Michael
Not to be confused with Thumper (the rabbit in Bambi), as the Underwoods’ chief accomplice, Stamper’s sense of loyalty is the one thing that never seems in doubt. Or is it?
Prime Minister, David Cameron today gave his strongest hint yet that he intends to step down as Prime Minister within two years of winning the forthcoming General Election. Speculation has been mounting that Mr. Cameron is close to announcing the date of the next election as May 22nd. This would coincide neatly with the forthcoming elections to the European Parliament.
The last General Election in May 2015, resulted in a surprise overall majority of 12 for the Conservatives. This has since fallen as a result of recent by-elections although Mr. Cameron has resisted calls to strike any sort of deal with either Tim Farron’s Liberal Democrats or the similarly-sized Democratic Unionist Party.
Having entered Downing Street in June 2010, Mr Cameron is now the third longest serving Prime Minister since 1945, after Margaret Thatcher and Tony Blair. At 52, he remains younger than Mrs Thatcher when she became Britain’s first (and to date, only) woman prime minister in 1979.
According to a report in the London Evening Standard, Mr Cameron’s cabinet colleagues, George Osborne, Boris Johnson, Theresa May and Michael Gove are expected to join the race to succeed him.
Labour’s Jo Cox has been amongst those urging unity in her own party, ahead of the expected election announcement. UKIP has, meanwhile, renewed calls for a referendum on continued UK membership of the European Union. Opinion polls currently indicate support for a UK exit from the EU, but also that it is low on the list of voter priorities at this time, ranking way below concerns over the NHS and education.
Opponents of a vote suggest it would be a colossal waste of time, money and energy, inviting economic uncertainty, political uncertainty and disunity at a time of growing prosperity.
Meanwhile, in New York, maverick billionaire and 2016 Republican Party nominee, Donald J. Trump has announced plans to challenge President Hillary Clinton for the White House in 2020. Trump, who will be 74 by the time of next year’s election has made repeated claims of foul play surrounding his 2016 defeat although no evidence has thus far emerged.
In 2017, Trump resumed his role on the US version of TV’s ‘The Apprentice’.
Napoleon. His Life, His Battles, His Empire. By David Chanteranne and Emmanuelle Papot. Published by: Carlton Books, March 7th 2019
I know almost nothing about Napoleon Bonaparte.
I studied International History up to postgraduate level. Despite
this, I don’t remember being taught anything about him during my entire twenty
years in education.
I know roughly what he looked like, that he was born in
Corsica and that he married Josephine. I know he rose very fast through the
ranks after reviving France’s fortunes following the bloody chaos of the French
Revolution. He became very powerful and very important, very quickly but, like
Hitler later, came badly unstuck trying to invade Russia. He died in exile, at
a relatively young age (51).
I don’t get the impression he was anything like as bad as
Hitler, Stalin or Mao in the 20th century. He didn’t unleash
genocide and probably did some good along the way, reforming France’s legal system
and the like. His wars nevertheless wrecked and destroyed thousands of lives. On
balance, I suspect, he was more of a “baddy” than a “goody.”
What else? I know, “My,
my. At Waterloo Napoleon did surrender” because Abba told me so. But are 1970s
pop lyrics really a reliable source of historical information? There is plenty
of doubt, after all, that Rasputin was in fact, as Boney M argued, “lover of
the Russian Queen.” As to whether he was really “Russia’s greatest love machine?”:
well, it’s now almost impossible to verify.
This book was thus very helpful to me in filling in the considerable gaps in my knowledge of one of history’s key figures. With 180 illustrations, it would probably appeal to children, but I doubt I’m the only adult who found it useful.
After all, as a wise person once pointed out: “the history book on the shelf. It’s always repeating itself.”