Badgeland: Memoir of a Labour Party Young Socialist in 1980s Britain, by Steve Rayson. Published: 7th February 2023
Steve Rayson has worn a few badges in his time.
The 1980s was a time when badges were often worn to convey political slogans, at least by those on the Left. Slogans like: ‘Coal not Dole’, ‘Nuclear Power, No Thanks’, ‘Rock Against Racism’, ‘Jobs not Bombs’, ‘Tories Out’, ‘Free Nelson Mandela’, ‘Tony Benn for Deputy’, and ‘Keep GLC working for London’.
The book opens in Swindon in the late 1970s, at the exact point that Steve’s teenage preoccupations with football, fishing and females start to give way to a wider interest in promoting the Labour Party and socialism. It is a cause that will dominate the next decade of his life.
Opposition to his newfound idealism can be found everywhere. The old lady on the bus who refuses to accept that his ‘Anti Nazi League’ badge is not somehow intended to promote Nazism. The friend who rubs his hands with glee at the thought of helping his mother buy her own council house under the ‘Right to Buy’ scheme. The short-lived French girlfriend who proclaims, “I really admire Margaret Thatcher.” The man who concludes, ”I wouldn’t trust Labour with my money…Red Ken would just give it all to black lesbians.” Worst of all is the cool indifference of his working-class father who just seems embarrassed by his son’s frequent left-wing outbursts.
Over time, Steve sees his hometown and his country transformed. Indeed, he is transformed himself, never betraying his principles but forced to make compromises as he attempts to find his place in a rapidly changing new Thatcherite world. The book covers similar territory to other political memoirs by people of a similar age such as Mark Steel’s Reasons to be Cheerful or John O’Farrell’s Things Can Only Get Better. Steve Rayson lacks the comedy background of either of these two fairly well-known figures: until now, he has been best known for his more sober analysis of the reasons behind Labour’s 2019 General Election defeat, The Fall of the Red Wall (2020).
But this is, overall, a very readable, engaging and sometimes funny account of one young man’s decade-long campaign to attempt to halt and ideally reverse the nation’s gradual transformation into a new, crueller, harsher new Thatcherite reality.
At some point after Stargate but before the Star Wars prequels came Starship Troopers. The most underrated science fiction film of the 1990s made landfall across Earth in 1998. Would you like to know more? Join Chris Hallam as he goes on a bug hunt…
A war correspondent in full futuristic military uniform reports straight to camera from a battle scene. His location is on one of the bug meteors in the Klendathu system, whose deadly inhabitants, the giant insectoid Arachnids have been launching a series of devastating attacks on the Earth.
“It is an ugly planet! A Bug Planet! A planet hostile to life…” he states before he is brutally attacked mid-rant by one of the Arachnids. He does not last long. As if personally insulted by his harsh words about its home world, the monster proceeds to tear him apart in full view of the camera
“Keep moving! Get out of here NOW!” a passing mobile infantryman – in fact, our hero Johnny Rico (Casper Van Dien) warns the cameraman – and thus in true B-movie style, us. Soon afterwards, another soldier and the cameraman are also attacked by the same creature. So, begins 1997’s science fiction romp, Starship Troopers, directed by Paul Verhoeven and based on Robert A. Heinlein’s 1959 novel of the same name.
MAN VS BROOD
It’s a familiar story. Boy meets girl. Boy joins the Federal Service, where despite the opposition of his wealthy parents, he becomes a ‘Roughneck’ i.e. an infantry man. The girl becomes an ace space pilot, but living an entirely separate life, soon breaks up with the boy.
Okay: admittedly this isn’t a familiar story. It doesn’t really matter. For this is just the beginning. Soon the lives of Johnny and Carmen (Denise Richards) are transformed by the devastating war which erupts between the humans and the Arachnids. The various entanglements between, say, Johnny and fellow Roughneck “Dizzy” (Dina Meyer) soon fade into insignificance as the film becomes increasingly focused on the devastating physical confrontations between man and alien.
Or perhaps we should say “person vs alien”? For despite being directed by Paul Verhoeven, the man who brought the world Basic Instinct and Showgirls, the society in Starship Troopers is refreshingly lacking in prejudice based on gender or, indeed, race. Only the fictional species of giant killer insectoid aliens are treated badly. And criminals. And cows.
This liberal attitude extends to a scene in which many of the cast (including Dina Meyer) stripped off in front of the camera, for a unisex shower scene. Somewhat apprehensive, the young cast reportedly only agreed to this, if director Paul Verhoeven agreed to get naked himself while filming. Verhoeven, then overweight and fast approaching sixty was happy to do so. Thankfully, no images recording Verhoeven’s gesture seem to exist.
Actress Denise Richards who played Johnny’s initial love interest Carmen was crucially absent from this scene: in fact, her character was elsewhere, and it would have made no sense for her to have been involved. This did not stop the film and others such as Wild Things (1998), Drop Dead Gorgeous (1999) and the Bond film, The World Is Not Enough (1999) launching Richards’ career as a major film star and sex symbol of the late 1990s and early 2000s.
Neil Patrick Harris – then, best known for his early 90s teenage TV role as Doogie Hauser MD – plays Carl, the gang’s slightly geeky friend, who ultimately turns out to be psychic. Harris would achieve stardom only later. Today, it is he and Richards not Van Dien, Meyer or even established characters like the late Rue ‘Blanche from Golden Girls’ McClanahan and Michael Ironside, who are easily the most famous people in the entire film.
Has Starship Troopers dated? “Hell! Yes Sir!” Some of the CGI inevitably looks less impressive now than it did at the time. And while fighting aliens in space is still very much the stuff of science fiction, a viewer today in the ae of Zoom, would be forgiven for not noticing that Carmen’s electronic conversations with her long distance boyfriend, Johnny, were anything unusual when the film was made in the 1990s.
None of these things matter. For at the end of the day, watching Starship Troopers remains an enjoyable experience. The scenes of warriors doing battle as vast hordes of Arachnids can be seen teeming over the horizon remain exhilarating, exciting, gory and fun.
The film is also immeasurably boosted by the series of short, sombrely narrated state propaganda films supposedly created by the ruling regime which appear throughout. Presented in the style of Allied Second World War newsreels, while also attempting to deploy internet type technology (the web was still young in 1997), these somehow manage to seem both old-fashioned and futuristic at the same time.
They are undeniably intentionally funny but also give us a taste of the kind of society, Johnny Rico and his friends have grown up in. It is a society which is comfortable with child soldiers and which (like the modern USA) is perhaps a little bit too relaxed about preventing its children from getting their hands on guns. It is a society in which criminals are flogged and executed not just publicly, but on live TV. It is a society in which children are urged to stamp on harmless domestic spiders by war-mad teachers driven into a frenzy by government propaganda. And as we learn early on in Johnny’s civics class, it is a society where citizenship and the right to vote are not awarded automatically, but have to be earned.
The human society in the film, Starship Troopers live in an Americanised fascist state.
The question is, is this what creator Robert A Heinlein would have wanted, either for a film based on one of his books or for human society itself?
THE STATE THEY’RE IN
One day, in the Nazi-occupied Netherlands of the early 1940s, one member of the occupying forces decided to play a cruel game to pass the time. He pointed his gun at a small boy. The boy was naturally terrified and had wet himself publicly before the Nazi stopped.
The boy was Paul Verhoeven. And he never forgot it.
More than fifty years later, he directed Starship Troopers, a film which seemed to confuse many reviewers. Some (for example, the late Jeff Vice) seemed to miss the fact that it was set in a fascist state completely. Others did recognise this, but assumed Verhoeven was endorsing fascism.
The celebrated critic Roger Ebert gave the film two out five. “Starship Troopers” is the most violent kiddie movie ever made. I call it a kiddie movie not to be insulting, but to be accurate,” he wrote, clearly deliberately insulting it. “(Verhoeven) wants to depict the world of the future as it might have been visualized in the mind of a kid reading Heinlein in 1956.” The book was actually first published in 1959. Scott Rosenberg, writing in Salon was disappointed for different reasons. It “lacks the courage of the book’s fascist conclusions.”
Let us be clear: there is no doubt whatsoever about Verhoeven’s anti-fascist intentions in the film. Nor is there any doubt that the society he and screenwriter Edward Neumeier conceived is sufficiently right-wing to be considered fascist. The military are completely dominant. There is little evidence of democracy. Corporal and capital punishment are in use. The characters’ uniforms sometimes look fascistic in design too. By the end of the film, Neil Patrick Harris practically looks like a member of the Gestapo.
The satirical elements in the film are intended to give the viewer pause for thought, drawing attention to similarities between the US and this ultra-right-wing state.
On the other hand, it is easy to see how some people might get confused regarding the film’s attitudes to fascism. For one thing, as mentioned, the very worst aspects of fascism: the extreme racism and persecution of minority groups do not seem to exist here. Unlike every other Far Right state everyone seems refreshingly progressive when it comes to gender and race. The girls and boys fight … and shower… side by side. Even though many of the girls suffer excruciating deaths as they are impaled by Arachnids at least, as they do so they can take comfort from the fact that they are doing so on equal terms with the chaps.
It also must be said that things do seem to function pretty well in the world of Starship Troopers. Everything seems to be almost perfectly set up to counter the Arachnid threat. One wonders if a more democratic, less military society would be so well prepared to combat an alien menace, particularly if they were more constrained by inhibitions over gender and race.
Actor Michael Ironside, played high school teacher turned Roughneck unit commander, Jean Rasczak recalls being puzzled by Verhoeven’s attitude.
“Why are you doing a right-wing fascist movie?” He asked. Verhoeven replied: “If I tell the world that a right-wing, fascist way of doing things doesn’t work, no one will listen to me.” He continued: “So, I’m going to make a perfect fascist world: everyone is beautiful, everything is shiny, everything has big guns and fancy ships, but it’s only good for killing fucking Bugs!”
Many fans of the book had another objection to the film. They didn’t appreciate the implication that Heinlein was a fascist at all. It seems unlikely Heinlein would have appreciated that label either. However, he had died in 1988.
If the novel and film of Starship Troopers are very different, it is perhaps not surprising. The director hadn’t read the book.
“I stopped after two chapters because it was so boring,” Verhoeven admits. “It is really quiet a bad book. I asked Ed Neumeier to tell me the story because I just couldn’t read the thing.”
Starship Troopers represented something of a turning point for Heinlein as he moved from juvenile to adult fiction. There are quite a few differences between the book and the film: there is a lot more technical detail about the troopers’ suits and Heinlein’s years of naval experience are clearly in evidence in the text. But there’s no getting away from politics: Heinlein was, in fact, motivated to write the novel after being inspired by his anger over the moderate Republican president Dwight D. Eisenhower’s decision to suspend nuclear testing in 1959. A leftist in his earlier days, by the 1950s, he was clearly firmly on the Right with many of his characters’ words clearly reflecting his own conservative outlook.
The words, “There are no dangerous weapons; there are only dangerous men,” seems like an early formulation of the National Rifle Association’s famously inane but resonant slogan, “guns don’t kill people: people do”. Heinlein is critical of the concept of life, liberty and the pursuit of happiness and clearly advocates the notion of citizenry and the right to vote are earned through service and combat. He clearly advocates flogging of juvenile delinquents, using a strange analogy about a puppy to illustrate his pointy. His character, Dubois says of the 20th century: “that period was loaded with pre-scientific pseudo-psychological nonsense…half of it fuzzy-headed wishful thinking, half of it rationalized charlatanry.”
It is easy to forget he is writing in the relatively placid USA of the 1950s. Heinlein may not have literally been a fascist, but he certainly had tendencies in that direction. Had he lived to see it, he may not have liked the implication that the society in the film version was fascistic, but it seems unlikely he’d have disagreed with much about how the society functioned in the film.
On the plus side, the book shows few obvious signs of racism at all. This is reasonably unusual for an American book of the mid-20th century and very much to Robert A Heinlein’s credit.
THE RETURN OF RICO
The years rolled by. Robert Heinlein’s status as an author steadily increased. By the time of his death in 1988, the man behind Stranger in a Strange Land and The Moon Is A Harsh Mistress was regularly ranked as one of the “Big Three” of English language science fiction authors alongside Isaac Asimov and Arthur C. Clarke. The year 1978, meanwhile, had seen a teenaged Sarah Brightman release the single, ‘I’m In Love With A Starship Trooper’ with Hot Gossip. The following year saw The VCs debut in British comic, 2000AD. Unlike the pop song and as he freely admitted, Gerry Finley-Day’s strip clearly owed a lot to Heinlein’s novel, Starship Troopers.
In the 1990s, a script entitled Bug Hunt At Outpost Nine began to circulate. The script was similar enough to Heinlein’s 1959 book that a decision was to buy the rights and adapt it directly. Paul Verhoeven, the man behind the original science fiction blockbusters, Robocop and Total Recall was hired to direct.
Although not a flop, Starship Troopers underperformed at the box office. Had it been a success, it might well have become a major movie franchise. This may yet happen there is serious talk of a reboot and a script has been written. As it is, there are sequels (see the box out) but none made it to US cinema screens.
As it is, 25 years on the film looks better now than it did at the time. It’s true the acting is sometimes ropey – witness Denise Richards’ sudden dramatic recovery from apparent serious injury in the film’s closing scenes – but the film’s depiction of a militaristic American national security state anticipates the struggles of the next decade (the US not fighting Arachnids but Iraqis) and the arguably fascistic tendencies of the Trump Administration (2017-21).
As Paul Verhoeven says: “It’s a very right-wing book. And with the movie we tried, and I think at least partially succeeded, in commenting on that at the same time. It would be eat your cake and have it. All the way through we were fighting with the fascism, the ultra-militarism. All the way through I wanted the audience to be asking, ‘Are these people crazy?’
BOX OUT: HEROES, MARAUDERS AND TRAITORS..
At last! All those spin-offs and sequels in full…
Roughnecks: Starship Troopers Chronicles (1998-1999): A 36-part CGI animated TV series. Paul Verhoeven was executive producer and featuring characters (although not the voices) from the film such as Johnny and Dizzy. Ended after being beset with Bugs…er… I mean production problems.
Starship Troopers 2: Hero of the Federation (2004). TV film sequel scripted by the original film’s screenwriter Edward Neumeier (who also wrote Robocop). Richard Burgi, later of Desperate Housewives stars as Captain V.J Dax. Two-word review: it’s bad.
Starship Troopers 3: Marauder (2008) Casper Van Dien returns as Rico in this straight to DVD effort directed by Neumeier. Perhaps slightly better than Hero of the Federation, but not by much.
Starship Troopers: Invasion (2012) and Starship Troopers: Traitor of Mars (2017) Japanese computer animated films. Surprisingly, Van Dien and Dina Meyer both reprise their roles from the 1997 film in the second of these, Traitors of Mars.
Di another day: The Princess (Elizabeth Debicki) spills the beans.
Bad news for fans of Imelda Staunton’s Queen Elizabeth II: she’s barely in this episode at all, appearing only fairly briefly at the start and again towards the end. She is, for the most part, Queen Unseen. Queen but not heard.
Never mind: instead, we get lots about Diana (Elizabeth Debicki) and old Phillip (Jonathan Pryce). Diana is hanging out a lot with her fried, Dr. James Colhurst (Oliver Chris) who acts as an intermediary between her and author, Andrew Morton (Andrew Steele) as she provides first hand material for his sensational warts-and-all biography of her, Diana: Her True Story.
The Duke of Edinburgh, meanwhile, is indulging his love of carriage-riding with family friend, Lady Penny Knatchbull (Truman Show actress, Natascha McElhone). Yes, you heard me: carriage riding. Apparently, this isn’t just something people in 1820 used to do, but a genuine hobby which rich people like to do today: restoring and then riding about in old carriages. Each to their own, I suppose.
But hang on a mo! Lady Penny is much younger than the old Duke and very attractive. Does the Queen not mind about this? Well, fear not, it all seems to be perfectly innocent. The two do achieve a genuine sense of intimacy, but not in a rude way. In a sudden burst of story, Penny does reveal to Philip what Di’s been up to. Philip is annoyed and arranges to meet with Diana and gives her a friendly warning. Don’t rock the boat, he says. And, for once, he doesn’t mean the Royal Yacht, Britannia.
But it’s too late to cancel the book now and anyway Diana doesn’t want to. This seems to mark the point where Diana goes rogue.
Live and let Di: The Prince and Princess (Dominic West and Elizabeth Debicki) go on fighting the Cold War.
It’s 1991 and the political situation is very, very different from how it is today, in November 2022.
Hard as it is to imagine now but back in 1991, Britain had been under the same Conservative government for twelve long years. I know, right? With the economy slipping into economic recession, the Tories had forced out their unpopular woman leader and replaced her with the man who until recently had been Chancellor of the Exchequer. The new Prime Minister was the youngest one so far of the entire century. So, as you can see: nothing like the current state of affairs at all.
But never mind all that, where’s the Queen?
Well, the series opens with a supposed bit of newsreel footage showing the Queen attending a ceremony marking the commissioning of the Royal Yacht Britannia back in 1957. Older readers will remember that for the first decade of her reign, the young Queen was played by the actress Claire Foy and this is the case here. The flashback ends with Foy’s Queen staring, horrified into the middle distance as if she has foreseen the images which appear in the next scene where she has transformed into Imelda Staunton. We first see Staunton’s monarch enduring the banal necessities of a routine medical examination. We are now in the 1990s and like Staunton herself, the sovereign is now supposed to be in her mid-sixties.
Of course, we already know the real problem isn’t with the Queen herself (spoiler alert: she lives for another 31 years) but with her children, three of whom are about to divorce, almost simultaneously. A frisky Princess Anne (Claudia Harrison) is already eyeing up the local talent while Charles (Dominic West) is doing his best to preserve the public face of his desperately unhappy marriage to the much-loved Princess Diana. Australian actress Elizabeth Debicki does a great job of replacing the also excellent Emma Corrin in this challenging role, often displaying a remarkable physical resemblance to the late Princess of Wales. But by this point, the marriage is clearly already doomed, wrecked by Charles’s affair with Camilla and by the fact they obviously have absolutely nothing in common.
The onetime Trainspotting actor, Jonny Lee Miller plays Britain’s Prime Minister, John Major. Major mostly sits quietly while lots of people talk at him in this episode. It is not really made clear whether this is because he is supposed to be naturally inscrutable or because he is keeping quiet because he senses he is out of his depth. Prince Charles, in this, seems to be plotting to encourage the Queen to abdicate and waffles vaguely and attempting to draw vague parallels with the decision to replace the ageing sixty-something Thatcher with the male forty-something Major. Princess Margaret (Lesley Manville) typically attempts to embarrass Major socially. Diana and the Queen are more polite to him. Sadly, there is no repeat of the scene in the Chris Morris comedy, The Day Today, in which the Queen and Major have a full-blown fight during their weekly audience together.
The story so far: Against all the odds, ordinary London girl and granddaughter of King George V, Elizabeth Windsor has risen to become Her Royal Highness, Her Majesty, Queen Elizabeth II. Having seen off many perils during her first forty years on the throne including her wayward, drunken sister, Margaret (Vanessa Kirby/Helena Bonham Carter/Lesley Manville), unstable palace intruder, Michael Fagan (Tom Brooke) and non-U-turning, ex-Europhile, Iron Lady, Great She Elephant, Margaret Thatcher (Gillian Anderson), she now faces her greatest enemy of all: HER OWN CHILDREN. Can the Queen resolve the mystery of the Annus Horribilis? Can this series avoid overlapping with the storyline of the film, The Queen, also written by Peter Morgan nearly twenty years ago? And can the Queen work out why after nearly thirty years as Olivia Colman, she has now suddenly turned into Imelda Staunton? For the answers, read on…
Drama Queen: Actress Imelda Staunton takes over the reign/reins…
Kate Atkinson is a good writer. She tends to write two types of novel: powerful historical ones depicting 20th century life like Behind The Scenes at the Museum or Life After Life and griping crime thrillers featuring her hero, Jackson Brodie. Her new book is pretty much a combination of the two: a crime drama in a period setting. Basically, it focuses heavily on the ups and downs of a fictional major crime family in a world still reeling from the devastating impact of the Great War in the 1920s. It’s a bit like the recent TV drama, Peaky Blinders but much lighter and funnier than that was. It also alternates between York and London. Essentially, it’s an enjoyable read which satisfy Kate Atkinson’s legions of fans as well as anyone new to her work.
Welcome to the world of Kitty Collins. Busy London socialite. Instagram influencer. Wholesale murderer.
She has her reasons, initially only slaying men, almost accidentally at first who she chances upon and who crucially behave very badly in the course of their everyday lives.
We all know the sort. The married man who sleazes over younger women on a drunken night out. The bastard who ghosts her friend after their all too brief relationship with the “clingy” female gets too “serious” for him. Or any number of the gropers, potential rapists or misogynists who walk our streets, drink in our pubs, dance in our nightclubs, vote in our parliaments, work in our offices and sit in our homes on a daily basis.
Less sinister than Dexter and with more fashion sense than Norman Bates, Kitty soon finds herself addicted to this sort of morally righteous brand of killing, finding it provides a real sense of purpose to her otherwise rather shallow social media orientated existence. But with a potential new boyfriend looming on the horizon and an anonymous stalker taunting her with threatening messages, can Kitty really go on killing men and getting away with it forever?
Author Katy Brent has created a marvellous anti-hero here in this wonderfully compelling first novel. Certain to be made into a TV series or film soon, this is a British American Psycho for the 2020s, but somehow a lot more accessible and certainly a hell of a lot more fun.
Published by: HQ Digital. Available on ebook now and in book form on 16 February 2023.
First, a quick word of warning: one of the main characters in this novel is referred to only as “the Big Guy” throughout. This frankly takes quite a bit of getting used to, but somehow it is possible. And it’s well worth doing so, for if you can, at the end of the day, this is another fine novel from one of the best American authors around. It’s November 2008 and Barack Obama has just soundly beaten Senator John McCain in the race to the White House. The Big Guy (you see? I know!) is very unhappy about this. He is a rich, ageing conservative and soon begins consulting some of his friends who have similar inclinations as to the best possible response to these events. But what exactly do they intend to do? As others have noticed, this is definitely quite a political book. Homes’ last novel, May We Be Forgiven featured a character who was obsessed with Richard Nixon a lot and this one includes cameo appearances from the defeated McCain as well as from presidents Bush (the second one) and Obama. I enjoyed the political side of the book, but rest assured, there’s lots of other good stuff here too as the Big Guy finds time to reassess his relationships with Charlotte, his troubled, alcoholic wife and with their intelligent, thoughtful daughter, Megan.
According to some accounts, the current release Jurassic World: Dominion might very well represent the final faltering step in the popular movie saga which began so strongly with the classic Jurassic Park back in 1993. In truth, ending the Jurassic series now might well prove to be the best decision, But, just in case, anyone does make the brave and perhaps foolhardy decision to resurrect this dormant movie franchise, here are some potential film titles which have not been used yet…
Troubled Tory Prime Minister, Boris Johnson has denied that his leadership had been fatally wounded by last night’s confidence vote. In fact, he appeared to deny that such a vote had even taken place. “If there was a large group of MPs gathering in the Commons on that particular date, I was certainly unaware of it,” he stated, in comments made this morning. He promised to launch an immediate inquiry to establish both whether such a vote occurred and whether he himself had been there or not.
Mr. Johnson went on to deny hearing crowds booing him on his arrival at both the Platinum Jubilee Service on Friday or at the special Platinum Jubilee Concert held on Saturday evening. “I am not aware of either of these events or this so-called “jubilee” which everyone in the media seems so obsessed with,” he argued. “Honestly, the suggestion that most people care whether or not we have a Queen or whether I once saw a birthday cake while walking past a shop window at a serious time like this is just plain balderdash.” He added: “The media seem to be convinced everyone is partying and celebrating all the time. It simply isn’t true. In the real world, most ordinary people are too busy struggling with the cost of living crisis and other problems which my government created.”
Elsewhere, Culture Secretary, Nadine Dorries also attacked the media claiming recent footage of the Queen sharing tea with Paddington Bear had been faked using “special effects”.
“Isn’t it funny that a series called the Carry On films has stopped?” jokes the comedian, Tim Vine. They in fact stopped a very long time ago now – in 1978 – but the public fascination with them has never ceased. From the gentle but jolly black-and-white National Service comedy, Carry On Sergeant in 1958 to the abysmal Carry On Emmannuelle twenty years later, a total of thirty Carry Ons films were produced. The early films such as the most second and most commercially successful release, Carry On Nurse (1958) were written by Norman Hudis and tended to poke gentle fun at national institutions, for example, the Army, hospitals, police force and schools. A big change came when Talbot Rothwell took over as screenwriter for the the 007 spoof, Carry On Spying (1964), a development which coincided with the arrival of Barbara Windsor on the cast and the move into colour. Carry On Spying in which Windsor played Daphne Honeybutt was the last one to appear in black-and-white.
From that point onwards, the films became less innocent and more smutty. Characters started having names like Dr. Tinkle and Gladstone Screwer and the films were crammed with all the sexual innuendoes (“Ooh! What a lovely pair!” “Once a week is enough for any man|!”) which they’ve become notorious for. On the plus side, they also became notably more ambitious, parodying everything from historical epics (Carry On Cleo, the most highly regarded of the series or Carry On Up The Khyber) to the Hammer Horror series (Carry On Screaming) with mostly enjoyable results, while always remaining cheap to produce.
As the 1970s began, however, things took a turn for the worse as the changing social mores of the ever more permissive society pushed the films into the gutter. Carry On Henry (1971) was good fun and the contemporary Carry On Camping (1969) – famous for the scene in which Barbara Windsor’s top bursts off during an exercise session – was one of the most successful of the whole lot. But by the mid-70s, the quality had declined to such an extent that most of the regular cast (Sid James, Hattie Jacques, Barbara Windsor, Bernard Bresslaw) had abandoned the whole enterprise. Those familiar faces were, of course, a key reason why the films had done so well. By 1992, with many of the originals either dead (Kenneth Williams, Sid James, Peter Butterworth, Charles Hawtrey) or unwilling to be in it (Windsor, Joan Sims, Kenneth Connor, Bernard Bresslaw and others), the disastrous attempt to revive the franchise with Carry On Columbus with a new cast of rising stars such as Julian Cary, Tony Slattery and Martin Clunes was doomed from the start. Although it doesn’t gloss over the dark side of the series (the actors’ terrible pay, the miserable off-screen personal lives endured by Williams and Hawtrey), Caroline Frost’s book remains an affectionate portrait of a mostly fondly remembered national institution.
Book review: Carry On Regardless, by Caroline Frost. Published by: Pen and Sword. Available : now
The Beano comic is now so old that there is now almost no one left alive in the UK who could not have potentially read it as a child.
The acclaimed children’s illustrator, Shirley Hughes, who died last month aged 94 apparently retained some memories of comics which “predated The Dandy and Beano.” Such people must be a rarity today. Besides even Hughes would have only just celebrated her eleventh birthday when the first Beano arrived in July 1938.
This book provides a decent and comprehensive history of Britain’s longest running comic authored by the appropriately named Iain McLaughlin, a onetime editor of The Beano himself.
This is as the title states, an unofficial history, however, and its worth mentioning that there are no images included from any issues of The Beano in this book at all. Such pictures as there are are mostly restricted to some fairly dry images of former contributors, statues of iconic characters such as Minnie the Minx and a cover which manages to evoke memories of the comic without actually including any pictures of characters at all. One wonders if there was some behind-the-scenes wrangling over this, perhaps explaining why the book was delayed from its original scheduled 2021 publication date.
It’s worth emphasising: this is still a solid, informative read. However, if you want to revisit the adventures of your favourite Beano characters be they Dennis the Menace, General Jumbo or Baby Face Finlayson, you’ll have to look elsewhere. There are no snapshots from Beano stories or even cover images inside.
Which Beano do you remember? Very old readers might just remember the very first Beanos featuring the likes of Big Eggo, Pansy Potter: The Strongman’s Daughter and Lord Snooty and his Pals. The new comic was one of three titles launched by Dundee-based publisher DC Thomson in the immediate pre-war era. The first, The Dandy (1937) featuring Korky the Cat and Desperate Dan was The Beano’s companion and rival until it folded in 2012 after an impressive 75-year run. The third comic, The Magic (1939), in contrast, never took off. Launched barely forty days before Hitler invaded Poland, the outbreak of the Second World War effectively finished The Magic off although it shared an annual with The Beano (‘The Magic-Beano Book’) for some years after its official closure in 1941.
Perhaps like my father’s generation, you’re old enough to remember The Beano’s 1950s golden age, a brilliant period for the comic which saw the launch of many of its most famous characters including Dennis the Menace, Minnie the Minx, Roger the Dodger, the now politically incorrect Little Plum and, best of all, The Bash Street Kids which originally appeared under the Hemingway-esque moniker, When The Bell Rings.
All of these stories were still going when I myself started getting the comic in the mid-1980s now joined by the likes of Billy Whizz, Smudge and Ball Boy and as time wore on, Ivy The Terrible and Calamity James.
This is a good story about a comic which has lasted a phenomenal 84 years. Hopefully your own memories of The Beano are vivid enough that you won’t need to see pictures of Biffo the Bear, Plug or Les Pretend in order to enjoy this.
Do you remember Scott and Charlene getting married and the song which played at their wedding? Do you remember Plain Jane Superbrain? Daphne’s whispered last words to Des? Lassiter’s? Henry falling in the pool? Toadfish? Stonefish? The Kennedys? Melanie’s laugh? Bouncer’s dream? If so, you’re sure to enjoy my latest feature which bids a fond farewell to Neighbours as the Australian soap begins its final journey to the great eternal Ramsay Street pool party in the sky.
Available in Yours magazine, out from March 22nd onwards!
They wouldn’t call a children’s comic, Krazy, these days. But in 1976, they did. And for 79 fun-filled issues, the short-lived British comic which played host to the Krazy Gang, Cheeky, Pongo Snodgrass and Hit Kid was genuinely one of the funniest and most anarchic titles around. One particular highlight was Trevor Metcalfe’s Batman spoof, Birdman & Chicken AKA Dick Lane and Mick Mason AKA The Krazy Crusaders. in many ways, a forerunner to Bananaman which made its first appearance in DC Thomson’s Nutty very soon afterwards, every one of the hapless avian superhero duo’s adventures against foes as diverse as The Giggler, Dr .Doom, Sour-Puss, The Puzzler and The Tremble Twins. The stories begin in full colour but end up in black and white. A particular highlight is Metcalfe’s penchant for alliterative captions particularly when producing one of the story’s many cliff-hangers, for example, “Will the ruthless rogue really wreck our rash raiders on the rocks?” or “Next week – our superstars search for a scheming scalliwag – the Scarecrow!” In short: over forty years old, but still lots of fun.
The year 2022 marks the 45th birthday of 2000AD.. And let’s clear up any confusion from the start: this refers to the popular weekly science fiction comic, 2000AD (which started in 1977) as opposed to the actual year, 2000AD (which started in the year 2000). I hope that’s clear.
Back in the pre-Star Wars, halcyon days of 1977, 2000AD burst onto the nation’s newspaper shelves, transforming the world of British comics forever. Over the next 2,000 or so issues (or progs, as they are known in 2000AD-world), tens of thousands of pages of sci-fi and fantasy featuring everything from Mega-City lawman, Judge Dredd (“I am the law!”), eternal warrior of Nu Earth Rogue Trooper, intergalactic Hoop girl, Halo Jones, mysterious alien weirdo Nemesis and his deadly human foe Torquemada (“be pure, be vigilant, behave!”), so-called “Celtic Conan”, Slaine, master of the Warp Spasm (“and he didn’t think it too many”) and countless other thrills, all courtesy of editor of the Galaxy’s Greatest Comic, Tharg the Mighty have appeared and indeed continues to do so today.
And now, in the highly unlikely event you’ve missed anything, this new, comprehensive, fully illustrated new encyclopaedia is here to get you fully up-to-speed. covering everything from Ace Trucking Company to Zippy Couriers, from Anderson PSI to Zenith.
So, if you don’t know your Ro-Busters from your Robohunters, your Wulf Sternhammers from your Wolfie Smiths, your Joe Dredds from your Joe Pineapples or your Gronks from your Grobbendonks, then this is the perfect book for you..
The term “national treasure” is often bandied around a bit loosely these days. But make no mistake: at eighty, the actress Miriam’ Margolyes is undeniably worthy of the title. As this audiobook version of her autobiography confirms, she is a funny, sensitive and intelligent woman who has led a rich, eventful and rewarding life.
What is she actually most famous for? Well, as she herself admits, when the final curtain eventually falls, many tributes will begin by mentioning that she played Professor of Herbology, Pomora Sprout in two of the Harry Potter films. It is a small role in a star-studded saga which only came to Miriam as she entered her sixties, but such is the nature of the hugely successful franchise that virtually everyone who appeared in them, be they Alan Rickman, Maggie Smith or Robbie Coltrane, is automatically more famous for that than for anything else almost regardless of how busy or successful their career may otherwise have been. As she is not a fan of the series (she has not read any of the books nor seen any of the films, including either of the ones she is in herself) and does not like science fiction or fantasy, she admits this slightly grudgingly although she remains grateful as ever for the work and for being a small part of a story that means so much to so many people and will doubtless continue to be watched for many decades to come.
She has been astonishingly prolific though working consistently on stage, radio, TV and film since she left Cambridge University nearly sixty years’ ago. The Internet Movie Database credits her with 188 roles and while many of these were bit parts or voice only roles but this doesn’t even touch on the numerous radio, theatre and voiceover performances she has delivered and she discusses many of them here. This is a long book but even she cannot mention everything. In 2006, for example, she appeared as Mrs. Midge In one episode of the French and Saunders sitcom, Jam & Jerusalem and provided voices for the characters, Mrs Ashtrakhan and Rita’s Grandma in the high-profile animated films Happy Feet and Flushed Away. But I don’t think any of these roles are mentioned in this autobiography.
She had a run of 1990s Hollywood success. She was the nurse in Baz Luhmann’s Romeo + Juliet, probably the most successful Shakespeare film adaptation ever made. Oddly, one of her abiding memories of this is how smelly the young star, Leonardo DiCaprio was. She was the voice of Fly, the female sheepdog in both the Babe films. She won a BAFTA for her role as Mrs. Mingott in Martin Scorsese’s Age of Innocence.
We have all probably seen and heard her in far more things than we realise. She was one of the most high-profile voiceover actresses of the 1980s. She was the voice of the sexy cartoon bunny on the Cadbury’s Caramel adverts (“Take it easy with Cadbury’s Caramel”). She vividly recreates her sexually suggestive vocal performance on one 1970s tobacco advert. She dubbed most of the female voices for the cult 1970s series, Monkey. I personally remember her first from watching the brilliant Blackadder II in which she played Edmund’s puritanical aunt, Lady Whiteadder (a character who, Margolyes relates, seems to have a curious effect on a certain breed of middle-aged man). I also once saw her on stage in a production of She Stoops To Conquer alongside an unlikely combination of Sir Donald Sinden and David Essex.
But the book’s not all about her career. Margolyes talks seriously and honestly about many things. She talks about her parents, her childhood in Oxford, her university days, her being Jewish, her lesbianism, her pain and regret about her experience of ‘coming out’ to her parents and her lifelong unhappiness with her own appearance. As the name of the book suggests, she is always very honest. She acknowledges her successes (she is especially proud of her one-woman show, Dickens’ Women in which she played a huge number of roles) but admits to her failures both major (cheating on her partner of fifty years) and minor (overreacting to a parking ticket or embarrassing herself when meeting the Queen).
Readers should perhaps be warned about her numerous sexual exploits and perhaps still more surprisingly, her eagerness to discuss them. Although a lesbian, a remarkable number of her anecdotes end with the phrase “and then I sucked him off.” This will doubtless offend some readers or listeners and amuse many more.
In fact, you could actually get very drunk playing a Miriam Margoyles Drinking Game imbibing every time the phrase “sucked off” comes up. Although too her credit, you would get drunker still if you downed a shot every time she ends a description of someone she has met during her life with some variation on the phrase “we remain friends and are still in touch to this day” or “we remained friends until they died.” She values friendship highly and has made and remained friends with many people. She says she has nearly 12,000 names in her phone book and clearly relished getting in touch with many of them to help her remember many of the events detailed in this narrative.
This, of course, suggests she is pleasant and easy to work with. It also adds credibility to her testimony against those who she does dislike who she condemns vigorously. She was treated very badly by Glenda Jackson during a union dispute during a disastrous stage production in the 1970s, singles out the late Terry Scott as a truly awful person and is venomous about the blatant sexism displayed by many of the future Goodies and Monty Pythom team at Footlights during the 1960s.
Some people still don’t like her today, of course, for a variety of reasons namely because she is a woman who talks freely about her sexuality, because she is a lesbian, because she holds left-wing views, because she holds left-wing views but has criticized Jeremy Corbyn’s support for Brexit and failure to tackle anti-Semitism in the Labour Party, because she is Jewish and yet has condemned Israel’s brutal treatment of the Palestinians, because she is Jewish full stop, because she is a woman who speaks her mind freely and honestly, because she is an old woman or simply because she is a woman.
This book is not for them. For the rest of us this is a golden opportunity to enjoy a well-told story, which is honest, moving and often very funny about a rich life lived to the full.
The pandemic has turned many comedians into authors.
It’s perfectly understandable. With many of the usual avenues of expression closed off to them, the lockdowns have provided a golden opportunity for many comics with a story to tell to finally put their words on paper. For many, it was either that or start a podcast. Little wonder then that, the Christmas 2021 books market is overflowing with comedy biographies. Harry Hill’s new autobiography is a weightier tome than his previous literary works, Harry Hill’s Whopping Great Joke Book, Harry Hill’s Fun Book or Harry Hill’s Bumper Book of Bloopers. But Fight! is a great read and I’d actually rank it alongside Bob Mortimer’s …And Away! as one of the very best comedy-themed books of the year.
As Harry himself admits, however, he is not for everyone. Chris Tarrant and Keeley Hawes are amongst those famous names who Harry has encountered who have not taken to his unique sense of humour. I myself have often been amazed how even during the long reign of Harry Hill’s TV Burp as one of the most consistently funny shows on British TV of the 2000s, a surprising number of people, many of whom I would have otherwise said had a good sense of humour suddenly became insufferably snooty whenever Harry’s name was mentioned. If you are one of those people, chances are, neither this book or even this review will be for you. Kindly go elsewhere.
For the rest of us, this is a treat, often funny, particularly in its early stages and revealing. Harry, after all, has a story to tell.
Today, with his winged collar, NHS spectacles and distinctly eccentric appearance, Harry Hill’s comic persona although well-established is hard to define. He looks like a middle-aged Bash Street Kid. Back in the 1970s, he was Matthew Hall, a bright young teenager busily engaged in developing smoke bombs and other homemade explosives with his other bored, science-obsessed school friends in rural Kent. “My interest in science was largely a by-product of pyromania” he admits now but it led directly to a medical career, something he abandoned only in the early 1990s as his love for performing live comedy took over. As Harry himself might reflect, “what were the chances of that happening eh?”
His accounts of his medical career make fascinating reading. Although he does not seem to be one of those comedians with an obvious dark side, his experiences as a doctor (including an excruciating sequence in which he makes a hash of informing a young husband that his wife had died unexpectedly) along with the premature deaths of a number of his old friends have obviously given him an appreciation of the fact life his short.
He has also clearly retained a treasure trove of memories and physical relics of his comedy career. It is interesting to learn that he often collaborated with the likes of Alastair McGowan and Stewart Lee in the 1990s: not names one would obviously associate with him now. By the end of the decade, he was a familiar face on Channel 4. Between 2001 and 2012, he enjoyed his biggest ever success with over 160 episodes of ITV’s Saturday evening “sideways look at the week’s television,” TV Burp. The build-up to the show’s commercial breaks during which a staged fight between two often very surreal rivals, incidentally, explains the book’s title. Such showdowns included; “the Archbishop of Canterbury versus the Footballers’ Wives,” “a paw versus a claw” and “who is the best vegetarian: Heather Mills or Hitler?” During the last of these skirmishes, Harry can be clearly heard shouting, “come on, Hitler!”
In the end, the strain of trawling through hours of often terrible TV to find a few nuggets of comedy gold proved too much for Harry and the other writers and the show ended. Nothing else he has done has ever proven quite as successful. Harry proves unafraid to mention his lesser successes, which include Alien Fun Capsule (essentially a less popular version of TV Burp), Harry Hill’s Tea Time (an enjoyable but little seen Sky One show) or the fun but not especially commercial 2013 Harry Hill Movie featuring Julie Walters, Sheridan Smith and pop rock band, The Magic Numbers.
He also does not shy away from mentioning his few outright failures either: these include his short-lived X-Factor-themed musical, I Can’t Sing and disastrous stints presenting Capital Radio, an attempt to revive Matthew Kelly’s Stars In Their Eyes or the filming of a never-aired pilot of an unpromising Beadle’s About style prank show.. That said, his failure to mention anything about the character Professor Branestawm or his sixteen series narrating home video clips show, You’ve Been Framed! (as far as I noticed anyway) is more surprising, however, particularly as neither of these were obvious failures. He’s has a busy life: perhaps he just forgot to mention them?
Ultimately, it is a book and a career to be proud of. Now 57, what does the future hold for the onetime Doctor Matthew Hall?
Well, there’s only one way to find out…
Book review: Fight! – Thirty Years Not Quite At The Top, by Harry Hill. Published by: Hodder Studio. Available: now.
The cover of Jimmy Carr’s book (or at least, the cover on the edition I have) shows Jimmy Carr symbolically removing a depressed version of his own face, revealing the more familiar, grinning version of the comedian underneath. The picture illustrates a central theme of the book: how twenty-two years ago, Jimmy transformed himself by abandoning his well-paid but unsatisfactory marketing job at Shell, ultimately becoming the very successful comedian and TV personality we all know today. Carr became, he argues, a much happier person as a result. Here, he argues, you can do the same, not necessarily by becoming a stand-up comedian (a career move which obviously wouldn’t suit everyone) but by identifying what you really want from life and going for it.
In many ways, the cover image would would work just as well if the two faces were reversed. For while the book is by no means deadly serious (on the contrary, there are lots of jokes throughout) this is Jimmy Carr, the host of 8 Out of 10 Cats with a silly laugh, revealing the more serious version of himself. The funny-man is revealing the more serious man behind the mask, not the other way round.
It should be a good read. Whether you personally like him or not, Jimmy Carr is a very clever and successful man with an interesting story to tell. He is perhaps not quite as funny on the page as he is as a performer, but he is not far off it.
Some of the publicity for this book describes it as Carr’s “first autobiography”. It isn’t. And this is the problem. When Carr does open up about his personal life and about his occasional struggles with mental health: his grief over the death of his mother, his hatred for his estranged father, the details of how he established his comedy career, his struggles with dyslexia, his panic attacks on stage, the book is very interesting. But this only goes so far. We learn very little about his childhood or about why he fell out with his father. There is nothing about his recent hair transplant. The book actually takes the form of a self-help book. A self-help book filled with quotations from other people, jokes, swearing and anecdotes from Carr’s own life.
Being a self-help book is not in itself a problem. Jimmy Carr has had a successful life and he wants to help others to be successful too. This is perfectly commendable.
The problem is that while some of his advice is useful much of it sounds like meaningless guff regurgitated from a thousand therapy sessions. He often spends a lot of time saying a lot which amounts to very little. Carr has done well in life and has worked hard for it. Fair enough. But he is almost evangelical in his conviction that his own formula for success can be easily transposed to everyone else.
“No one can beat you at being you…Look at society and ask ‘what am I bringing to the party?…Makes your own choices, just don’t not think about it…You can have anything, but you can’t have everything…When you win, you win, but you lose you learn.” It is often difficult to square banal platitudes such as this with the more cynical persona Jimmy Carr projects on stage and on TV.
In truth, of course, it is just that: a persona. As with other darker comics such as Frankie Boyle, Carr jokes about disability, incest and rape. But this is not him. It is humour and designed to shock.
Even so, I suspect he has a few ethical blind spots. He includes ‘climate change’ on a list of things which we should not worry about as we have no control over them. The arguments in defence of some of his more controversial jokes do not really stand up to scrutiny. He knows better than to attempt to defend his involvement in a tax avoidance scheme before 2012. The scandal came close to destroying his career and he has now paid back all the money he owed. But he has never really explained why he thought it was okay in the first place.
Despite all this, I like Jimmy Carr. I have seen him live and have interviewed him once. Over the last twenty years, he has been one of our best and most consistent comedians. A great biography will probably be published about him one day. But I suspect it won’t be written by him.
Book review: Jimmy Carr – Before & Laughter. A Life-Changing Book. Published by: Quercus Publishing.
Book review: A Class Act, Life as a Working-Class Man in a Middle-Class World, by Rob Beckett. Published by: Harper Collins. Available: now.
Now in his mid-thirties, Rob Beckett is a comedy success story, a popular stand-up, podcaster and a familiar TV face from shows like Mock The Week, 8 Out of 10 Cats and Taskmaster. He is also something of a rarity on the British comedy circuit in that he hails from a genuinely working-class background. This is his story, not a straightforward autobiography but a look at how his life and career have been affected by his past.
Judging by his own (and, indeed, probably many people’s) criteria, Beckett passes what he himself calls, ‘the Working-Class Test’ (perhaps this should be renamed, ‘The Beckett List?) with flying colours. He grew up in south-east London. His father worked as a driver: first driving vans, then petrol tankers, then a London taxi cab, His mum is known as ‘Big Suze’. He spent his 16th birthday at Crayford dog-racing track. He didn’t eat an avocado until he was 31. On the other hand, there is a darker side to all this. At his first ever Parents’ Evening at school, his parents were told straight that “he’s never going to be a high achiever or a high flier.”
Despite this, these experiences have left him not so much angry as conflicted. The book’s cover which shows him smartly dressed and cheerfully enjoying an expensive drink while simultaneously clearly about to tuck into a plate of bangers and mash while seated in a greasy spoon café, comically reflect his mixed feelings. His background has clearly caused him no small measure of awkwardness in the past. After an early comedy success winning a trip to Adelaide after securing the Best Newcomer award at Edinburgh ten years ago, Beckett found himself stuck there with no money left to enjoy the city at all. In a later incident, after being invited to a swanky party hosted by Jimmy Carr he found himself mocked by other guests for arriving with a few cans of beers in a plastic bag. Although he gets on well with his warm and supportive family, he admits to having been occasionally been embarrassed by their behaviour. It’s true, one or two of his issues can be attributed to other things: he recognises he was self-conscious about his weight for many years. A few elements of his parents’ behaviour sound like they might be more to do with general eccentricity or old age than anything else. But he is right to recognise that most of these problems have been down to class.
Today, Rob Beckett recognises he is definitely middle-class himself. His wife is middle-class: for one thing, she had never eaten fried chicken before meeting him. He also recognises his daughters will grow up to be much posher than he is. Occasionally his insecurities return. Most dramatically, it took a near nervous breakdown shortly before lockdown to make him realise his continued success did not depend on him taking literally every job he was offered. Even as a successful comedian who had been commissioned to write this book, he admits it took him a while to realise he wasn’t being needlessly financially reckless to even consider buying himself a new laptop rather than awkwardly sharing the computer his wife was using to home school the children during lockdown.
He frequently seems amazed he is writing a book at all. And no wonder. His father didn’t even read a book until he was 43. The book in question was The Secret Diary of Adrian Mole, in fact, written by Sue Townsend, a woman from a far poorer background than the Becketts.
Like her, Rob Beckett has come a very long way from where he started out from. But then, perhaps not so far, at the same time.