Book review: Movie Geek by Simon Brew

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Book review: Movie Geek: The Den of Geek Guide to the Movieverse by Simon Brew, Ryan Lambie and Louise Mellor. Published by Cassell, a division of Octopus Publishing.

This may come as something of a shock to my most regular readers but there are other websites out there. You don’t have to read this one. There’s apparently one called Amazon which is pretty popular and another called YouTube. There’s also one called Den of Geek.

Den of Geek have been a valuable dispensary of geek info for well over a decade now, long predating the likes of the excellent Nerd Like You site or my former employers, the sadly now defunct Geeky Monkey magazine. If you want clues about the latest series of The Walking Dead or a review of the latest Game of Thrones episode, the website is the place for you.

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This movie-themed volume is the site’s first soiree into the world of books (big papery versions of websites: ask your mum) but I doubt it will be its last. Film-related articles featured include How The 1990s Changed Blockbuster Cinema, The Movie Sequels You Might Not Know Existed, Films You Might Not Know Were Based On A Comic Book and A Few Remarkable Things About Some Remarkably Bad Movies.

Do these topics float your boat? I’ll confess they do mine. But then, I am a geek. What do you expect?

But I would recommend this, genuinely. It’s a great coffee table read. Buy it. And perhaps Den of Geek, will one day be as popular as the website you’re reading now.

Which, in truth, even I’ve forgotten the name of.

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Book review: Little Me. My Life From A-Z. By Matt Lucas

Book review: Little Me. My Life From A-Z. By Matt Lucas. Published by Canongate.

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“He’s a baby! He’s a baby!” These words were sung by Shooting Stars co-host Bob Mortimer just as an unusual looking man dressed in a full-sized pink romper suit homed into view.

This is probably how most of us got our first glimpse of Matt Lucas, then known as “George Dawes” (as in “What are the scores, George Dawes?”) in the anarchic Nineties quiz show Shooting Stars. He was not, of course, a baby, but it is surprising to reflect, just how young he was. Having started performing stand-up in his teens, Lucas was already a semi-experienced performer when he first appeared on the show in 1995. He was barely twenty-one. True stardom was to come with Little Britain alongside his comedy partner David Walliams, some years’ later.

As Lucas admits, he does tend to polarise opinion somewhat. If the sight of his grinning bald face on the front cover already repels you, this book is unlikely to change your mind.

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But Lucas certainly has a story to tell: even before his entry into the comedy world, he had to cope with sudden childhood baldness, parental divorce and family scandal, fluctuating weight and the growing realisation that he was gay. Then, there was the decade-long climb to fame, initially playing the fictional aristocrat Sir Bernard Chumley, his first teenage meeting with Walliams (they bonded by comparing their stock of celebrity impressions), George Dawes, Rock Profiles, Little Britain, Come Fly With Me and ultimately Hollywood.

Fittingly for someone who was recently jumping around in time on Doctor Who, however, Lucas avoids a chronological approach. Each chapter is in alphabetical order by subject, a technique which works very well. The second chapter B, for example, is entitled Baldy! and discusses Lucas’s hair loss while the tenth J, Jewish, discusses his racial and religious heritage. It’s not always as obvious as that however and you’ll have to find our for yourself what the chapters ‘Frankie and Jimmy’ and ‘Accrington Stanley’ are about.

There is also, the tragic end to his relationship with Kevin McGee, his civil partner who committed suicide in 2009, some time after the failure of his relationship with Lucas. Lucas makes no apology for skirting around what clearly remains a very painful subject for him and nor should he have to. When he does occasionally refer to McGee, however, it is always with sensitivity and affection.

Like anyone, Lucas has a love/hate relationship with his own fame. He is perhaps more comfortable in the US where he is better known for his brief appearance in the huge comedy movie hit Bridesmaids opposite Rebel Wilson than for anything else. Indeed, as he himself admits, with the UK version of Little Britain a decade in the past now and the failure of his recent series Pompidou, he is less familiar to younger viewers now than he once was. Indeed, of the two Little Britain stars David Walliams is by far the better known member of the duo now.

Despite this, it is hard to imagine the man who created The Only Gay In The Village or George and Marjorie Dawes, ever disappearing quietly from our screens anytime soon.

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Book review: How To Be Champion by Sarah Millican

how-to-be-champion.jpgBook review: How To Be Champion by Sarah Millican: My Autobiography. Published by: Trapeze.

There is undoubtedly something very likeable about Sarah Millican. As with Jimmy Carr, she is blessed with an uncanny ability to switch from being sweet one moment to filthy the next. This tendency is certainly deployed to good effect in this autobiography.

On the other hand, despite being probably the most successful female stand-up in the UK, she retains a down to earth ordinary quality which Carr and most other comedians lack. Millican would doubtless be embarrassed by the comparison, but it is something she has in common with the late Victoria Wood.

It is undoubtedly a result of her background. In her early forties now, South Shields born Millican lived a relatively normal university-free existence for years, only turning to stand-up comedy as a means of coping with the collapse of her first marriage in her late twenties. Success came fairly quickly and she won the Edinburgh Best Newcomer award in 2008 beating off competition from the likes of Jon Richardson, Micky Flanagan and Zoe Lyons. Since her the success of her 2012 BBC TV series, The Sarah Millican Television Programme she has been unstoppable. She is now married to comic Gary Delaney (a regular on Mock The Week).

This is a funny, occasionally moving book perhaps slightly let down by its adoption of the overused self-help book format, a technique currently deployed seemingly by every comedy autobiography under the sun. Millican is very open about her difficulties with the harsher side of fame, refreshingly honest about her total lack of desire to ever have children and is clearly achingly vulnerable to the slings and arrows of often misogynistic abuse frequently directed at her by critics on Twitter and elsewhere. She quotes a breathtakingly rude Telegraph review of her 2013 Who Do You Think You Are? appearance by Christopher Howse (who she doesn’t name although I am happy to) in full. Referring to her “piping Geordie voice and dumpy frame,” it is less a piece of journalism, than a sustained and wholly unwarranted personal attack. Howse should be utterly ashamed of himself.

However, this is generally a light, enjoyable read from one of Britain’s comedy national treasures.

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Book review: Things Can Only Get Worse? by John O’Farrell

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Things Can Only Get Worse? Twenty Confusing Years In The Life Of A Labour Supporter by John O’Farrell, Published by: Doubleday

In 1998, John O’Farrell published, Things Can Only Get Better: Eighteen Miserable Years in the Life of a Labour Supporter, 1979-1997. It was an enjoyable and genuinely funny political memoir of O’Farrell’s life from his teenage defeat as Labour candidate in his school’s 1979 mock election to the happy ending of the New Labour landslide in 1997. Eighteen years is a long time: by 1997, O’Farrell was well into his thirties, balding, married with children and thanks to his work on the likes of Spitting Image and Radio 4’s Weekending, an established comedy writer.

The book was a big hit. But now twenty years have passed again since Blair’s first big win. The story of the two decades since as covered  in this sequel is rather more complex.

On the one hand, New Labour won yet another landslide in 2001 and a third big win in 2005. The Tories have never really recovered from their 1997 trouncing, winning a  majority in only one of the last six General Elections and even then a very small one (in 2015). And as O’Farrell says, things undeniably got better under Labour, with the government “writing off the debt of the world’s poorest countries…transforming the NHS by trebling health spending and massively reducing waiting lists…the minimum wage, and pensioners getting free TV licences and the winter fuel allowance…peace in Northern Ireland… equality for the gay community…all the new schools…free entry to museums and galleries…” The list goes on (and on).

John O'Farrell, Labour's prospective parliamentary candidate for Eastleigh

On the other hand, as O’Farrell admits, there are certainly grounds for pessimism too. O’Farrell often felt conflicted defending the Blair Government as a Guardian columnist in the early 2000s particularly after the build-up to the Iraq War. He had a bit of a laugh campaigning as the Labour candidate for the hopelessly Tory seat of Maidenhead in the 2001 second Labour landslide election running against a notably unimpressive Opposition frontbencher called Theresa May. But the disintegration of Labour under first Gordon Brown and then Ed Miliband was hardly a joy to behold, either for him or anyone else who backed Labour. O’Farrell’s candidature in the 2013 Eastleigh by-election in which he came fourth, was less fun too with the Tory tabloids attacking him by using out of context quotes from his first book. By 2016, with O’Farrell despairing after a year of Jeremy Corbyn’s leadership, the Brexit result and the election of Donald Trump, the celebrations of victory night in May 1997 start to seem like a very long time ago indeed.

Thankfully, O’Farrell is always a funny writer, remaining upbeat even when for others, things would only get bitter.

After all, even at their worst, Labour have never been as bad as the Tories. Yes, the Tories: a party who supported the Iraq War far more enthusiastically than Labour did (and indeed, whose support ensured it happened), a party who fiercely upheld Labour’s spending plans in the early 2000s at the time (rightly) only to attack them endlessly (and wrongly) later, a party whose membership enthusiastically chose Jeffery Archer as its choice for London mayor in 2000 and Iain Duncan Smith as their party leader in 2001. The Conservatives were, are and will always be “the Silly Party.”

This is an excellent book. And thanks to Theresa May’s calamitous General Election miscalculation, it even has a happy ending.

Sort of.

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Book review: How Not To Be A Boy by Robert Webb

How Not To Be A Boy by Robert Webb (Published by: Canongate)

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It’s probably more than a decade now since most of us became familiar with the comedy actor Robert Webb.

As Jez, the more laid-back but less responsible half of the flat-share arrangement in Channel 4’s longest running sitcom Peep Show between 2003 until 2015, he was the perfect foil to David Mitchell’s more intelligent but thoroughly anal Mark Corrigan. Although brilliant, Peep Show was never a ratings success. It did, however, lead directly to the sketch show The Mitchell and Webb Look which, though patchy as many such shows are, pushed the duo into the mainstream.

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Webb’s career is obviously linked to Mitchell’s: the two met at Cambridge in the Nineties and are currently appearing together again in Simon Blackwell’s aptly named comedy, Back. A straight comparison of the two men’s careers has led many to assume Webb is the lesser talent of the two. Mitchell has been a prolific columnist and clearly has a massive aptitude for comedy panel shows. Aside from his spectacular victory in the 2009 Let’s Dance for Comic Relief and his early performance in the TV series The Smoking Room, most of Webb’s biggest successes have been with Mitchell.

But any lingering doubts anyone might have about Webb’s talent should be vanquished by a reading of this genuinely funny and touching memoir. The title might seem to count against it: the “how to” prefix has been overused in comedy books in recent years (How Not To Grow Up by Richard Herring, How To Build A Girl by Caitlin Moran, How To Be A Grown-Up by Daisy Buchanan, How To Be A Bawse by Lily Singh and the forthcoming How To Be Champion by Sarah Milican) but in fairness to Webb, the title is pretty essential to the book’s structure. The seemingly well-worn “having an imaginary conversation with one’s younger self” device, previously deployed by Miranda Hart, amongst others, is also used well here.

The book is boosted by Webb’s vivid recollections of his painful teenage years, doubtless helped by his enjoyably pretentious diaries (“Is there any romance greater than the one a teenage boy has with his own loneliness?”) which he bravely reproduces fragments from here. He is also refreshingly open about his drinking problems and his early experiments with homosexuality.

But as with Hugh Laurie who, likewise, has always been in danger of being overshadowed by his brilliant co-star, this book serves as a valuable reminder that Robert Webb is a major talent in his own right.

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The Seven Ages of Binge Watching 

Reproduced from Bingebox magazine (2016):

Since the dawn of time, man has dreamed of watching many imported US television shows at once. Indeed, many now believe monuments such as Stonehenge and the Great Pyramid of Cheops were in fact primitive attempts to generate a Wi-Fi signal.  So how did we get to here from there? The truth is fascinating…

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THE DARK AGES: NO TV WHATSOEVER (Pre-1936)

Incredible as it may seem to the vast majority of people in the past, the idea of binge watching a popular TV show such as Lucifer on Amazon Prime  would have been a wholly alien concept.

In fact, if the entire history of the human race is condensed into a single 24-hour period, then people would have only been watching TV from around 11.59pm onwards. Which is ironic as that’s actually about the time many of us stop watching TV and go to bed.

People thus wasted thousands of years throwing bones into the air, making tapestries, having crusades, plagues and renaissances and essentially creating scenarios which would form the basis of many TV shows once TV came along. They didn’t binge watch anything.

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THE GREY AGES: (1936-1978)

The BBC began broadcasting TV in 1936 with the medium really taking off in the 1950s. But binge watching was still nor yet a reality, chiefly because there was still no means of watching TV shows outside their scheduled weekly or daily instalments. Not only would a fan of a popular 26-part series like The Forstye Saga be forced to tune in every week between January and July 1967 to see it, but if they missed one episode because they forgot, wanted to watch something else, were on holiday or were giving birth, there was nothing they could do about it. In fact, the “giving birth” example isn’t entirely a joke. According to his memoirs, the mother of comic Rob Brydon delayed going to hospital to give birth to him in 1965, despite the fact she was clearly experiencing labour pangs until the episode of The Fugitive she had been watching had finished. Of course, some things –including The Forsyte Saga in fact – were repeated. But many were not. At any rate, binge watching at home was still not possible.

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THE VIDEO AGE (1980s)

Video changed everything. For the first time, we could rent films, watch them, rewind them and return them to the shop. Or if we felt malicious, rewind them to a critical plot point (for example, the “reveal” bit in The Crying Game) and then return them to the shop, thus spoiling the film for whoever borrowed it and started watching at that point next. We could also tape whatever we wanted off TV: the Live Aid concert, royal weddings, World Cup finals to watch again whenever we liked (i.e. never). We could also tape whole TV series (cutting out any commercial breaks if we were canny enough). Binge watching was thus now possible. Legally, stuff taped off TV was only supposed to be retained privately for a year but provided you didn’t attempt to sell tapes of “Minder Series 3” you’d recorded yourself, down the market, you would probably get away with this.

Viewing habits were changing. It is no coincidence that the three highest rated TV shows of all time all date from 1986 and 1987. All three were Christmas editions of soap operas. The age of everyone watching the same shows art once was passing. Soon there would be Sky TV. Yuppies would be carrying brick-like mobile phones. People were also starting to buy home computers too. Most people didn’t link these three things together at the time but one day they would. The 21st century was on its way.

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THE COMING OF THE VIDEO BOXSET

Americans were slower to take to video than Britons were. There’s a discussion between two characters in the 1991 film City Slickers over whether it is possible to tape a show which you weren’t watching. This is of course the whole point of videos and even allowing for character stupidity, this would have seemed very out of date to UK viewers, more than half of whom has video recorders by the end of the Eighties.

For whatever reason, however, the sale of TV series to own and keep didn’t take-off until the 1990s, however, although when it did, a new era of binge watching was spawned.

“Re-record, don’t fade away” was the slogan of one advert for video recorders. But in truth, like communism and Kevin Costner’s film career, VHS was to prove largely a 20th century phenomenon. After twenty years, the age of video was soon about to fade away forever.

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THE DIGITAL AGE

The coming of DVD in the first years of the 21st century was important for a number of reasons. Firstly, it meant that if you had bought anything on video, you now had to buy it again in the new format if you wanted to keep hold of it as VHS was ultimately doomed. Secondly, you no longer had to rewind things after watching them. Thirdly, the lightness of the new digital versatile discs meant that newly formed companies could easily distribute discs by post. Some were even given away regularly with magazines like DVD Monthly or even for a brief period, newspapers, as millions rushed out to get their “free” copies of Babette’s Feast. The other nice thing about DVDs was and is their menu screens with their helpful “Play all” option. DVD player ownership is currently at around 59% of the UK population.

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BLU PERIOD

The arrival of Blu-rays around ten years ago changed little. If you had already bought anything on video or DVD, you could usually buy it again for slightly more on Blu-ray. But even this was optional as DVDs thankfully still worked on Blu-ray players anyway. Blu-rays look a bit better than DVD perhaps but frankly there’s not a lot in it. It really depends on how comfortable you are with having different sized Blu-ray and DVDs living alongside each other on their shelves doesn’t it? A surprising number of people aren’t.

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THE AGE OF STREAM

Today we are truly a blessed generation. Thanks to Netflix, Amazon Prime and the rest, we can enjoy all our favourite films and shows almost to our heart’s content. Want to watch Modern Family, The Waking Dead or House of Cards tonight? Chances are you can. Many of us even have virtual mini cinema systems in our own homes but even when away we can usually watch it on a train on a lap top or on the phone.

So forget all that stuff with candles: binge watching is the true Hygge of the 21st century.

After centuries of struggle, Leonardo Da Vinci’s dream of a binge-watching society was finally achieved. And who’s to say he didn’t dream of this?  He probably just forgot to mention it.

Book review: A Very Courageous Decision. The Inside Story of Yes Minister, by Graham McCann

Published by: Aurum Press.

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Two truly great British sitcoms appeared in the Eighties. Blackadder began in 1983, getting into its stride two years’ later. But the first, Yes, Minister, had began almost at the very start of the decade in February 1980, having been postponed for a year after industrial action had prevented its broadcast in early 1979. Yes, Minister would thus appear on screen under Margaret Thatcher but it had been conceived under her predecessor, Jim Callaghan.

It didn’t matter. The greatest political comedy of the Thatcher era was in fact non-partisan. Jim Hacker, though a “Jim” who eventually became Prime Minister was not supposed to be Callaghan. Indeed, he wasn’t originally even supposed to be a Jim. Creators Antony Jay and Jonathan Lynn had planned the series around a Gerry Hacker who is elevated to the Ministry of Administrative Affairs. When Paul Eddington, best known for his recent role as the amiable but henpecked Jerry in The Good Life, the name was changed to remove any association being made between what would turn out to be the two most famous roles of his life.

The casting turned out to be a masterstroke but it was the writing that provided Yes, Minister and Yes, Prime Minister with its backbone. Antony Jay (an older man and a Tory who died in 2016) and Jonathan Lynn (a left of centre figure still in his thirties when the show began) wisely decided to make their minister’s party affiliations unclear. There were occasional references to contemporary politics. For example, Sir Humphrey refers to a potential triumph for Hacker: “this could be your Falkland Islands,” although on a different occasion criticises another suggestion as “a Bennite solution.” In another episode, they also meet a London “loony left” councillor called Ben Stanley (“that odious troglodyte with the wispy moustache. The press hate him”).  In reality, the moustached left winger Ken Livingstone led the Greater London Council at the time. The name “Ben” does sound a lot like “Ken”. While the missionary David LIVINGSTONE famously met the explorer Henry STANLEY. So is Stanley, supposed to be Livingstone? I think we can presume so.

That said, such references (which McCann makes no reference to) are rare. The story was really about the battle between transient “here today, gone tomorrow” politicians in government and their battles with the mandarins of the civil servant personified by Sir Humphrey Appleby (Nigel Hawthorne) who basically seek to obstruct everything and prevent any real change occurring.

The series had surprisingly few teething problems other than the initial selection of an unsuitable director for the pilot episode. Eddington, a wartime conscientious objector and leftist political animal was initially keen on the role of Humphrey, recognising the part had the best lines. Thankfully, he was persuaded instead that he was perfect for the role of the initially well meaning but increasingly cynical Hacker.

Hawthorne, brilliant as Sir Humphrey, became famous for his part in exchanges like this one from the first episode:

Hacker: Who else is in this department?
Sir Humphrey: Well briefly, sir, I am the Permanent Under Secretary of State, known as the Permanent Secretary. Woolley here is your Principal Private Secretary. I too have a Principal Private Secretary and he is the Principal Private Secretary to the Permanent Secretary. Directly responsible to me are ten Deputy Secretaries, 87 Under Secretaries and 219 Assistant Secretaries. Directly responsible to the Principal Private Secretaries are plain Private Secretaries, and the Prime Minister will be appointing two Parliamentary Under-Secretaries and you will be appointing your own Parliamentary Private Secretary.
Hacker: Can they all type?
Sir Humphrey: None of us can type. Mrs Mackay types: she’s the secretary.

The South African born Hawthorne reportedly lacked confidence perhaps stemming from a fear of his homosexuality becoming public (as eventually happened, much to his annoyance, at the time of his Oscar nomination for The Madness of King George in 1995). A less political man than Eddington, he was reportedly occasionally irritated by the latter’s supreme confidence.

The trio was completed by Derek Fowlds as Sir Bernard. A man until then, best known for co-starring with Basil Brush, Fowlds, the only one of the three still alive, comes across as a man refreshingly lacking in vanity.

Veteran comedy writer Graham McCann does a good job of detailing the history of the two series here. He goes too far in rating the series’ wider significance however : “Government in those days (1980), was rather like a tree falling in a forest with no one there to witness it,” he says. This is largely still true. Great as Yes, Minister and Yes, Prime Minister, they didn’t change the world that much.

There are unfortunately constraints on just how much sitcoms can really do. Just as there are with ministers.

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Book review: Pussy by Harold Jacobson

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Published by Jonathan Cape, 13th April 2017

Few events have provoked a more seismic hostile reaction within the western world than the recent election of Donald Trump. One imagines his presidency will provoke a wealth of satirical novels based around his presidency. Well done then, to Booker Prize winning author Howard Jacobson then, for getting his version in first,  less than a hundred days into his presidency. Unfortunately, as with Trump’s own administration thus far, the book can only be viewed as a failure.

This is the story of Prince Fracassus, heir presumptive to the Duke of Origen, a spoilt, semi-literate, sex-obsessed, boorish,Twitter-obsessed fathead. Sound familiar?

Exactly. Indeed, this is part of the problem. Fracassus is so obviously meant to be Trump (something Chris Riddell’s excellent cartoons throughout confirm) that any satirical impact is largely blunted.

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The “heir presumptive” stuff seems somewhat misplaced too. Trump’s father was a millionaire property owner: Donald’s is not a rags to riches story but (as is often the case) a riches to far more riches story. But his dad was, at least, a self-made man. He was not, unlike Kennedy or Bush, part of a political dynasty. At least, not yet.

Donald J. Trump is probably the worst person to ever occupy the White House. He is an arrogant, bullying, egotistical, racist, misogynistic pig. Even the worst of his predecessors (Warren Harding, Richard Nixon, George W. Bush) had some redeeming features. He appears to have none. He is both a bad example to our children and a compelling argument for not having children.

He thus deserves a book which truly destroys him on the page. This isn’t that book.

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DVD review: Inside No. 9 – Series Three

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Cert: 18. BBC Worldwide

Steve Pemberton, Reece Shearsmith, Philip Glenister, Keeley Hawes, Tamzin Outhwaite, Peter Kay

Continuing in the richly darkly comic vein of the previous two series, onetime League of Gentlemen Steve Pemberton and Reece Shearsmith write and perform in six more one off stories, all linked by the fact that they involve the number nine.

For the 2016 Christmas special The Devil At Christmas, we join the Devonshire family (including Pemberton, plus his pregnant wife played by Jessica Raine and mother-in-law Rula Lenska) as they embark on an alpine holiday in 1970s Austria. Ingeniously, the episode is presented in the form of a 1970s film apparently being accompanied by a DVD audio commentary supplied by the production’s director (voiced by Derek Jacobi). There’s thus more than a shade of Acorn Antiques or perhaps Garth Marenghi’s Darkplace as continuity errors within the slightly shoddily made film within the film abound. But this not detract from an undeniably dark undercurrent. As local guide Klaus (Shearsmith) tells of the legend of Krampus (a sort of demonic anti-Santa), it becomes apparent something very sinister is going on both within the film but also behind the scenes. Ironically, this episode also comes with its own audio commentary on this actual DVD.

The second episode, The Bill deals with a perhaps more familiar setting as a group of businessmen including two played by Philip Glenister and Jason Watkins, meet for dinner. Matters escalate dramatically and alarmingly during negotiations over payment of the bill at the end of the night.

Series Two’s third episode The 12 Days of Christine starring Sheridan Smith was the standout episode and the same may well be true of The Riddle of the Sphinx in Series Three. Both terrifically clever and ultimately quite horrific, the story sees Pemberton playing a legendary puzzle compiler known as “the Sphinx” tutoring a wayward student (Alexandra Roach) who has broken into his quarters in the ways of the cryptic crossword. Like most such crosswords, nothing is quite what it first appears to be.

Empty Orchestra is, of course, as cryptic crossword fans will know, the literal meaning of the Japanese word karaoke. Set at a somewhat turbulent office party situated in a karaoke bar, the increasingly acrimonious mood amongst the work mates, all under threat of redundancy, is cleverly matched by the selection of songs.

To say the penultimate episode of the series Diddle Diddle Dumpling dealing with a husband (Shearsmith’s) obsession with a stray number nine shoe which he has found, is the weakest of these six episodes is no insult. The standard is very high.

Finally, Private View set in a sinister art exhibition features the distinguished likes of Morgana Robinson and Felicity Kendall, plus a bizarre cameo from Peter Kay. It combines horror and comedy just as brilliantly as Series Two’s finale Séance Time did and satisfactorily brings to an end another superb series.

 

Blu-ray review: GIRLS: The Complete Fifth Season

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Girls is back! And with rumours abounding that this will be the the penultimate season of Lena Dunham’s award-winning comedy drama, it remains to be seen whether it’ll ultimately be a case of “happy ever after” for anyone involved. I’m guessing not. But let’s begin at the start of the season.
First up is Hannah (Dunham herself), who despite embracing the life of a teacher with, if anything, rather too much enthusiasm is already tiring of her long suffering but admittedly far from perfect and indeed somewhat pompous boyfriend Fran (Jake Lacy). Only concerns about the dating habits of her newly “out” father distract her. That and fears about her “ex” Adam (Driver, now in Star Wars).
Meanwhile, though traditionally probably the bitchiest main character, English Jessa (Jemima Kirke) genuinely seems to be achieving her goal of slowly becoming a nice person as the season starts. That’s if she can keep her hands off her best friend’s former boyfriend.
Meanwhile, in what seems like a remarkably poor life choice even by her standards, Marnie (Allison Williams) is set to marry her emotional car crash of a music partner as the season dawns. Of the four girls, only ultra-cute Shoshanna (Zosia Mamet) seems to be doing well, having found a new life in Japan.
Sharp, surprising and funny as ever, Girls maintains its status as one of the great HBO shows of the decade.
Let’s hope the end isn’t really nigh…