Cookery Club and Car Lifting

The Inbetweeners
2012

4 Stars

I’ll admit, like most fans of the British comedy phenomena that is The Inbetweeners, I was devastated to hear that an American remake was on its way. How on Earth could the Americans bastardise a show so crass, so hilarious and, at heart, so intensely British as The Inbetweeners? It seemed an impossibility, and after the so many failed attempts in the past (Red Dwarf, The IT Crowd, et al.), one had to question why they were even bothering.

But the truth is, it isn’t the toilet humour and foul-mouthedness that made The Inbetweeners as good as it was; quite simply, it’s the show’s heart. Centring around four secondary school losers, it’s so easy to see our own former selves in at least one of the group. We all knew a Jay, a Neil or a Simon, and I will freely admit to having been the Will McKenzie of Durham school. Teenagers are all the same, and THAT is what makes the show so very poignant.

With that in mind, why couldn’t an American translation work? Are American teens really all that different from those of the UK?

Simply put, no, they aren’t.

It’s true that a lot of the material is similar, and there are a few quips that were hilarious in the British version that rather fall flat in the Americanisation, but perhaps that is simply because we have all over-watched the show and already know the punch-line well before it has come.  Four episodes in, however, and writer Brad Copeland (of Arrested Development fame) looks like he’s beginning to take risks, having this week given us an episode of entirely original material which would easily have stood up against some of the best episodes of the original. Will starts a cookery club to impress Charlotte whilst Jay gives up “sex” in order to give himself a wet dream.  It just works wonderfully.

Of course, it’s the boys themselves that make the show what it is, and although Joey Pollari is quite weird enough as Will, his supporting classmates really do make up for it. Bubba Lewis’ portrayal of Simon is as awkward and prattish as Joe Thomas, with Alex Frnka a much more believable and compassionate Carli than Emily Head ever was.

The stars of the show, however, have always been Jay and Neil, and at first glance, I’ll admit that I was concerned; Zack Pearlman’s Jay is a rotund and greasy looking chap who one would never believe to be the stallion he claims to be, but it is immediately made clear that this is part of the joke. Bouncing around like a young Jack Black, he brings a new twist to the character that really does work. His mascara-topped outfit in the Night Out episode is, quite simply, priceless. Mark L. Young as a long haired wannabe-rocker Neil is a scatterbrain rather than the outright idiot of his predecessor, and it’s clear in both of these characters that they are different people altogether instead of attempting to be clones of their British counterparts.

If the first four episodes are anything to go by, this could end up being a great show, and it’s rather a shame that it has such large shoes to fill. That said, The Office became great in its own right, and I truly believe that this could too, just so long as it’s given the chance.

So, y’know what people of Britain? Stop moaning and give it a go, ‘cause after all, weren’t we all inbetween at some point?

Silly Love Songs and a Stellar Comeback

Glee

Season 2, Part 2 (So Far…)
(2011-Present)

5 Stars

It’s no secret that I’ve been a huge fan of the musical phenomenon that is Fox’s Glee since its foetal stages. Before the hype, before the Gleeks, I was getting my glee on with ever-spangly jazz hands.

Alas, come the end of the first season, I was beginning to get a little jaded… The once great storylines and character arcs had been replaced by popularity and a little too much over-confidence. The inevitable curse of sudden fame.

So when season two first rolled round, I was a little dubious… And somewhat rightly so; a number of humdrum episodes and crushing disappointments (the Britney episode… The Rocky Horror Glee Show…) punctuated some truly promising stories.

In the aftermath of Will’s divorce, and the birth of Quinn’s bastard child, we were given some truly inspired nuggets of potential. The sudden sickness, and then marriage, of Burt Hummell (the ever-wathable Mike O’Malley), and the moving and terrifying “coming out” of football player Dave Karofsky (a deliciously menacing Max Adler) proved that the writers were at least working their way back onto the tracks. Unfortunately, this fan was left somewhat… wanting…

But cue the Super Bowl, and with it, television’s most expensive Super Bowl Special; The Sue Sylvester Shuffle, a hilarious and faith-renewing canon-shot from Glee’s glory days.

Glee’s writers have really gone all out to progress the show once more, bringing new twists to the verging-on-familiar theme. Amidst Schuester’s perpetual “we are NOT talking about this” and Rachel’s inevitable moaning about losing the lime light, some fresh and wonderful glee has come to life.

New characters Coach Bieste (Dot Jones) and Sam (Chord Overstreet) complete this year’s ensemble with suitable pizzazz, with Jones’s performance as the “husky” football coach never short of beautiful, and Overstreet’s enormous mouth put to good use as the geeky but lovable quarterback (so long as he isn’t droning out Justin Bieber numbers…). Darren Criss as Blaine, Kurt’s gay mentor (would “bent-or” be utterly offensive…?) at Dalton Academy, is becoming more and more comfortable in his shoes, rapidly turning into an integral member of the cast. His recent rendition of Paul McCartney’s "Silly Love Songs" was nothing short of breathtaking, taking a previously dreary ditty into a work of beauty.

Naya Rivera’s new chest is also a delight to watch.

Erstwhile recurring characters have been brought to the forefront, with regular face Lauren Zizes (Ashley Fink), the burly female wrestler, becoming the unlikely new member of New Directions, and even more unlikely love interest for bad boy Noah Puckerman. Mike Chang’s dancing continues to impress, whilst his overused abs, however, are becoming less and less amazing every time they come rippling out.

With new plot twists coming in every week, and the musical numbers being belted out with their former gusto, it looks like Glee is truly back on top form. With Sue Sylvester now coaching the ingeniously named Aural (Oral?) Intensity, Glee is set for a stellar trip towards Nationals in New York at the end of this season… That is if New Directions can beat off competition from friends and foes alike.

As ever, don’t stop believing… and all that jazz.

One Piece of Greatest

One Piece

(Eiichiro Oda, 1997-Present)

5 Stars


I’ve been in Japan for not far less than two years now, and despite my best efforts to maintain utter oblivion to the world of Manga, it was inevitable that eventually it was going to get me. Being unable to pop down to a comic store that sells anything in English, or tune into the Disney channel on an evening, I have been somewhat Jonesing for my X-men and Kim Possible fixes.

And so, after some gentle nudging from Manami, and a rather groovy collection of freebie key-chains from the 7/11, I found myself more and more intrigued by Eiichiro Oda’s pirate themed adventure, One Piece.

Following the exploits of young elasticated hero Monkey D. Luffy and his crew of unlikely miscreants as he endeavours to become king of the pirates, One Piece is a fantabulously fun franchise that has spread from comic, to TV, and even to a series of feature-length movies.

A cast of bizarre and endearing characters, ranging from anthropomorphic reindeer doctor Tony Tony Chopper and skeletal musician Brooke, to chain-smoking dandy chef Sanji (my own personal favourite) compliment engaging and exciting stories, that although read with vigour in the manga, do have a tendency to occasionally run a little long in the televised version – when one battle lasts for ten episodes, it is something of an overkill.

For me, however, the great selling point of the series is not simply the stellar cast, nor the award-winning flashbacks that constitute a major portion of the tale, but Oda’s brilliant artwork, bringing each character to life in their own individual style, complimenting each persona in inimitable charm.

Amidst a crazed culture of animation that verges from the most disturbing hentai to the overly cutesy, One Piece is certainly one piece of art that manages to walk that fine plank between annoying and disturbing, bringing to light a sexy, saucy and all-round awesome adventure in animation. With a plethora of books, cuddly toys, socks, action figures, and even a themed restaurant in Tokyo’s Ginza district, One Piece is piratey fun to keep you Going Merry.

The Long Awaited Return...

Primeval
Season 4
(2011)

4 Stars

Having been away for so very long, it seemed fitting to bounce back with the welcome return of another cult classic that somewhat disappeared unexpectedly and for no apparent reason; ITV’s prehistoric sci-fi extravaganza, Primeval.

Over the course of its first two seasons, Primeval introduced us to the world of Professor Nick Cutter and his team of lovable misfits as they tracked down creatures from past, present and future through the streets of London and thereabouts. Great fun all round, with some spanking special effects, delightfully convoluted plot twists, and the occasional much-appreciated shot of Hannah Spearitt walking around in her underpants. Awesomesauce.

Unfortunately, season three saw the series take a bizarre turn for the worse; killing off three of the main characters within as many episodes, crow-barring in awkward new characters and leaving almost every potentially great plotline utterly unresolved. Hence, a somewhat unfortunate cancellation for one of the best sci-fi dramas to come out of Britain in… Well, ever.

And so, two years on, upon my all too brief return to the UK over Christmas, I was delighted to find that the long-rumoured fourth season had finally come to fruition. And, much to my relief, the show had finally taken the darker, more paranoid tone that it had much needed after the death of Professor Cutter. Rather than trying to cram in a new group leader, the writers have done what should have happened in the first place, and brought the grieving Connor Temple and Abby Maitland (the always wonderful Andrew Lee Potts and real-life beau S-Club’s Hannah Spearitt), back from the Palaeolithic and into the show’s forefront.

New cast members Ciaran McMenamin and Alexander Siddig bring delightful new conspiracies and suspicions to the show’s mythology, whilst at the same time, looking to finally resolve some of the first few seasons’ storylines. A plethora of new beasties, as well as the welcome returns of a few old ones also spice up proceedings.

After a rocky era, it looks like the Primeval team are back on track, bringing to the present the former glories of its past. With season five set to start in the autumn, I shall be waiting to see what the team has dug up for the future.

Back to the Whedonverse

Dollhouse
(Joss Whedon, 2009-2010)

3.5 Stars

I’ve never been a religious man. Since an early age, a faith in a secular deity has been lacking. Possibly the vast array of faiths and cultures I was bombarded with from childhood. Or just simple nihilistic atheism.

One cult I have been indoctrinated in for well over a decade now, however, is that of Joss Whedon, a man who has, time and time again produced some of the finest TV shows that have graced the small screen. As such, I feel somewhat tentative writing this review, and hope that the lord shall forgive me for taking his name in vain.

It’s taken me a long time to finally sit down and watch Whedon’s most recent televisual venture, the apocalyptic drama Dollhouse, mostly because after watching the opening episodes first time round, I was utterly unimpressed. Of course, I should’ve known better; Whedon never pulls out the stops with a pilot. That said, after Buffy, Angel and Firefly, I had very, very high hopes for this show, none of which were ignited by the season’s opening shows.

Determined to find the joys here, though, I persevered, and by episode five, things were starting to take shape. Set in the eponymous Dollhouse, a plush science lab with the ability to “imprint” humans with any personality that a client show desire, the show follows (for the most part) Echo (Eliza Dushku – Buffy, Tru Calling, Wrong Turn), one of the “actives” who begins to recall her previous engagements.

Of course, for me, casting Dushku as the lead was the show’s first flaw. A fantastic supporting role in Whedon’s previous projects, Dushku does not hold the audience as a lead character, and is, quite honestly, and in stark contrast to her spectacular co-stars Enver Gjokaj and Dichen Lachman as fellow actives Victor and Sierra, unconvincing as most of the “personalities” she takes on.

The story arc of the first season is engaging enough; FBI agent Paul Ballard (Tahmoh Penikett) attempts to track down the Dollhouse, whilst week in week out Echo is sent on a variety of different missions. The second season, however, finally gives the show the “oomph” it needed, bringing the lesser characters to the fore-front, such as typically Whedonesque neuroscientist Topher (Fran Kranz) and the wonderful Olivia Williams as the house’s manager, keeping the audience ever on their toes with her “is she evil or not???” persona. Dushku, thankfully, is rather placed on the backburner.

Unfortunately, where the show falls flat for this cynic is not in its storytelling, but in its heart. Its themes are typical Whedon; battling big corporations, self discovery, brainwashing, Amy Acker in a lab coat… but what is really missing here is the warmth and humour that I have always admired Joss for. In every show or film he has been involved in, he has presented us with a group of bizarre reprobates, whether they be vampires and werewolves, space cowboys or even talking toys, and managed to make us care for them, thus encapsulating the dysfunctional “family” of the 21st Century. In Dollhouse, however, we are not given characters, merely shells that can be filled with anyone, thereby leaving us with no connection with our leads. Even the “real” characters are so morally defunct that it’s difficult to care about them.

That said, episode 2.11, in which something utterly heartbreaking happens to the somewhat endearing Topher, did actually make me scream at my TV screen; something that hasn’t happened since Danny was killed in season three of Spooks.

It’s difficult for me to look at this show without some prior prejudice; I simply had too high expectations. With that in mind, when The Cabin in the Woods finally unearths itself from development hell, it better be bloody good!

Evil is on the Rise

Dr. Horrible’s Sing-Along Blog
(Joss Whedon, 2008)

5 Stars

Joss Whedon is something of a hero of mine. Probably the greatest writer/director working today, if not ever, Joss manages to excite me in ways that no other purveyor of televisual treats can ever do. Indeed, so excited was I about his forthcoming film The Cabin in the Woods, that I was plunged into a dark funk of depression upon discovering that it had found itself in the middle of a political war, and thus still pending release date. Grr.

Whedon first displayed his unique talent for the television musical back in 2003, when the cast of Buffy found themselves under the spell of a music making demon; a demon that caused my CD player to repeat itself over and over for the months that followed.

As such, I was overjoyed with excitement back when the ingenious Dr. Horrible’s Sing-Along Blog first aired online back in 2008, and, in much need of a Whedon fix a few days back, decided it was time once again to get singing along.

Dr. Horrible follows the exploits of the eponymous evil genius (played with musical aptitude by Neil Patrick Harris – How I Met Your Mother, Dougie Houser MD) as he fights his nemesis Captain Hammer (Whedon regular Nathan Fillion (Firefly, Serenity) on fine misogynistic form) and tries to win the heart of the lovely Penny (Felicia Day – Buffy The Vampire Slayer, The Guild), whilst at the same time trying his darnedest to enter the ever watchful League of Evil, reigned over by the dastardly Bad Horse.

It’s fantastic fun, but what really makes Dr. Horrible a classic is the perfect combination of Whedon’s inimitable comedic tone, some fantastically memorable songs, and a cast that really throw themselves into the silliness full throttle.

Typically Whedonesque, Dr. Horrible is yet another cult classic from the crowned prince of quirky television.

Are You Sure It's Plugged In...?

The IT Crowd
Season 4
(2010)

3 Stars

Graham Linehan is something of a champion of British sitcom; having delighted us over the last two decades with such brilliances as Father Ted, Black Books and The Fast Show, he has shown us his ongoing genius over the last few years in the top-notch sitcom The IT Crowd.

A fantastic cast and some of the wittiest surrealism imaginable came together in this comedy of errors set in the IT department of the mighty Renholm Industries, reigned over by the ever-awesome Matt Berry.

Unfortunately, after three years of being possibly the funniest show on British TV, it looks as if the crowd is starting to get clogged up with spam. Series four has, for the most part, been a crushing disappointment. Whereas former seasons have been generally reliable on the laugh front, spattered with ingenious plots and memorable one-liners, this year’s set of six has left this fan somewhat despondent.

True, there have been moments, notably the moment when geeky Moss (Richard Ayoade) gives his ethos “I came here to drink milk and kiss ass… And I’ve just finished my milk”, and the season finale’s Sexy Star Trek video, but generally each episode has failed to raise more than a couple of smirks.

The one exception is episode 4.04, which sees unlucky in love Roy (Chris O’Dowd) trying to work out exactly how his new girlfriend’s parents managed to perish in an aquarium fire, whilst ever hopeless Jen (Katherine Parkinson) tries to convince the board that she speaks Italian.

Despite the sketchy and overly episodic nature of this season, it has been nice to see the development of Moss’s character; having been nothing more than a running nerd gag (albeit a brilliant one) for the last three years, this season has seen Moss begin to grow into a more confident and believable character. Alas, he has been given far too little to do in many episodes.

I don’t know. Perhaps I put this show on too much of a pedal-stool, but it seems to have become a bit of a damp squid compared to its early days. Perhaps we need to try turning it off and on again.

Maximum Entertainment

Titan Maximum
(2009)

4 Stars

As regular readers will know, I spend far too many hours of my life searching for those rare gems of TV gold that do occasionally surface amongst the general drudge of televisual mundanity.

One of the few channels to regularly deliver little unknown cult gems is the home of “grown up” cartoonage, Adult Swim. Over the past few years, AS has given us such classics as Robot Chicken and Harvey Birdman: Attorney At Law, as well as being the current home to the more mainstream hits Family Guy and South Park.

Having exhausted Robot Chicken over the past few months (I may or may not do a review shortly, dependant on my mood), I was delighted to discover another little show from creators Seth Green and Matthew Senreich, along with writer Tom Root.

Titan Maximum, like its predecessor, is a wonderfully fun adventure in stop-motion animation, this time taking us into the all too familiar world of giant robot space escapades. Paying homage to Voltron, Battle of the Planets, Power Rangers and just about any teenagers/battle robot-based show, Titan Maximum tells, over nine ten minute episodes, an intricate tale of adventure, romance and betrayal, interspersed with cutting comedy and captivating crudeness, all spiced up with a crotch-crunching robot.

A cast of loathable yet loveable characters, ranging from douche-bag egocentric hero Palmer, sex symbol Sasha and the fantastic Admiral Bitchface, brought to life by a collection of some of the finest voice actors in the business; Breckin Meyer, Seth Green, Rachel Leigh Cook and even the legendary Billy Dee Williams, create a truly memorable experience, interspersed with one of the sharpest scripts I’ve seen in an adult cartoon in a long time.

Low viewing figures has left Titan Maximum’s future uncertain, but rest assured, this is a ball-busting piece of genius from a team that never fails to impress.

Everybody Walk The Dinosaur

Anonymous Rex

(2004)

2 Stars

So, I just finished the book, and figured that I may as well give the TV version a go.

I must say, there have been few Sci-Fi Channel TV movies that have really impressed me; Tin Man, the gothic Wizard of Oz was painfully bad to watch, whilst their recent attempt at Alice was only watchable for Andrew Lee Potts’ delightful portrayal of the Mad Hatter.

Thus, it was with some trepidation that I approached their 2004 production of Eric Garcia’s Anonymous Rex, which, if you didn’t catch my review of the book earlier this week, is basically detective noir meets Jurassic Park, and really bloody good fun.

Unfortunately, despite Garcia working as executive producer on the project, the final result has little of the books ubiquitous charm. Indeed it feels like the only things that have stuck are the main character’s name , and the concept of dinosaurs living among us.

Vincent Rubio (played with an eminent dullness by Sam Trammell) is no longer the degenerate herb-addicted private investigator mourning the death of his partner, but instead a suave and witty detective whose partner Ernie (Daniel Baldwin), still alive here, is actually a much more interesting and engaging character.

The twist and turn plot of the book is utterly scrapped, making way for a daft plan for world domination by dino extremists, and a bizarre dinosaur council, governed over by Isaac Hayes, who seem to spent their entire time playing mah-jong and giving crypticisms about “chance”. It’s just a little silly, and not in the good way.

On the plus side, there are some half decent CGI sequences, and the holographic guises, rather than the rubber ones of the book, are a little more believable (I did spend a lot of the book trying to figure out exactly how a dinosaur would fit into a rubber man suit), and the sub-plot involving Ernie’s human daughter is pretty fun.

There’s a lesson to be learned about adaptation which so few writers seem to heed; if something works, don’t fuck about with it! There’s a reason it works, so go with it! Anonymous Rex could have made a great TV show. Unfortunately, the pilot was so pants, it crashed and burned like a certain meteorite in the Gulf of Mexico.

Still Believing

Glee

Journey to Regionals

3.5 Stars

Complacency is a tragedy, no matter what walk of life you take. However, it is none-so-more a sad sight as when a previously outstanding TV show realises its own popularity and thus turns to sloppy writing and big name stars. Need I mention Friends?

As such, after the triumphant first demi-season of critical and audience success Glee, I was somewhat down-heartened to find that the long awaited “second half” lacked the raw innocence of its predecessor.

Glee; a musical comedy drama that, in part, capitalises on the success of that delightful phenomenon (doot doo da doo doo) High School Musical, first hit screens in AmericaLand last fall, tentatively stepping out to bring to the screen something that, though we had all seen before many a times, we had never come across as a serialised television show. The constant fear of cancellation of such a big budget show meant that writing was sharp, stories were driven, and the music itself simply complimented what was going on in the show.

But then seasons two and three were commissioned, and a sense of self-satisfied smugness began to emanate on a weekly basis. No longer were we presented with a smartly interweaving story arc driven by the occasional bit of musical jollity, but instead we have an episodic series that appears to work its way solely around whatever songs the writers fancy throwing in. As such, the season finale feels, quite frankly, like it could sit happily after episode 11, three months back; nothing (barring the appearance of Rachel’s mother, and the relationship between Finn’s mather and Kurt’s father) has really happened, and when trying to create emotional moments, we have to remember back to when there actually was a story to understand what is going on.

Add to this vastly underused big-name cameos; Neil Patrick Harris and Idina Menzel to name but two, and even a guest direction slot from televisual god Joss Whedon, and it really does feel like we’re trying too hard without actually trying at all.

That said, there has been a lot a good stuff this half-season; most notably the building of the relationship between young Kurt (Chris Colfer) and his father Burt (played with such rugged elegance by Mike O’Malley) has been a tearful joy to watch, and the hate-hate relationship between fluffy Mr Schuester (Matthew Morrison) and acid-faced Coach Sylvester (Jane Lynch) is always riveting. The season finale also, admittedly, had me in floods of tears as soon as the young folk started belting out their re-vamped rendition of Journey’s “Don’t Stop Believing”. But maybe that’s just because it always reminds me of a few chaps back home… I don’t know.

The music too, has, for the most part, been superior to the first half. If not simply because they’ve realised that the music is the source of the show’s power to the vast majority of pre-adolescent teens who will undoubtedly have been buying the abundance of albums and EPs by the truckload. I foresee next season releasing an extended play for every episode. Money money money.

I truly hope the creators of Glee pull their socks up next season, and remember just why we fell in love with the show in the first place. Bring back the stories; bring back the passion, and please, Don’t Stop Believing!

Submitted for the Approval of the Midnight Society...

The Subtitle Challenge has gone on a short hiatus after a ridiculously busy weekend, so today, instead, I bring you a nugget of classic kids’ TV gold…

Are You Afraid of the Dark?
(1990-2000)

4 Stars

Long before R.L. Stine conquered both children’s bookshelves and FOX Kids with his monthly tales of creepiness Goosebumps, the Canadian TV network YTV pioneered the children’s horror anthology concept with the frighteningly good Are You Afraid of the Dark?, a show which not only spooked youngsters on a weekly basis, but also launched the careers of many now famous faces, as well as inspiring directors such as M. Night Shyamalan.

Of course, looking back on childhood favourites is always a dangerous thing; if you watch Inspector Gadget now, it’s a poorly animated naff-fest, whilst the gripping supernatural game-show Knightmare is… Well… The less said the better really.

However, some shows really do stand the test of time. Watching, for example, the tragically short-lived Eerie, Indiana, one finds that it is actually BETTER as an adult, having missed out on so many subtleties and intelligences in the script as a kid.

Fortunately, having sat through the first two seasons of Are You Afraid of the Dark? over the last few weeks (a compliment in itself – usually if something “nostalgic” turns out to suck, I’d rather switch it off and maintain my memory. See the aforementioned Goosebumps for more information…), I have discovered a veritable cavalcade of ingenious stories, some of which really are quite creepy.

Following in the footsteps of predecessors The Twilight Zone and Tales From the Crypt, Are You Afraid of the Dark? aimed itself at a much younger audience, set around the premise of kids (the now famous “Midnight Society”) telling ghost stories around a campfire. The storytellers (each portrayed with genuine wit by the young actors) never feature in the tales, thus giving a fresh and individual aura to each episode.

Naturally, being a kids’ show, the storytelling is, on occasion, simplistic, and the acting by some of the “stars” of the weekly stories is rather wishy-washy, but, for the most part, there is a delightful originality to some otherwise familiar yarns (many of which are indeed concepts from The Twilight Zone toned down somewhat for younger viewers), and the young actors generally deliver a pretty good show.

Nostalgia is a wonderful thing, and occasionally it seems that my childhood self actually had quite good taste. Having contemplated Mini Boglins and Monster in my Pocket recently, it’s something of a relief…

Reality Sucks...

The Drawn Together Movie:
The Movie!
(Dave Jesser and Matthew Silverstein, 2010)

4 Stars

Eight housemates, 10,000 cameras, ridiculous challenges and a healthy dose of un-PC racism and flatulence. Sound familiar?

No, this isn’t Big Brother, this is the long awaited movie version of Comedy Central’s hilariously offensive animated reality TV show Drawn Together.

Parodying just about any subject imaginable, Drawn Together graced our screens for three ingenious series before creators Matt and Dave moved onto bigger, brighter ventures. Starring a cast of obvious and yet somehow unthinkable cartoon spoofs, such as Disney Princess lookalike Clara and the Oriental Battle Monster Ling-Ling (my personal favourite), Drawn Together pushed boundaries that even South Park could only ever dream of.

And then many years passed without a new episode. True, we were treated to the great Blaxploitation spin-off that was The Judge Fudge Adventure Power Hour starring the always delicious Judge Fudge, but no new Drawn Together. As such, it was with enraptured delight that I discovered that the ever-delayed Drawn Together Movie The Movie had hit our shelves.

The Movie sees our stars discovering that they are no longer on the air ad are in fact in a Truman Show style fallacy, subsequently embarking on a quest to get themselves back in their own time slot, whilst being hunted down by the trouble making I.S.R.A.E.L. (cue far too many bad taste Israel jokes, not one of which falls flat) and taking on the evil Suck My Taint Girl (a more than blatant shot at South Park’s popularity).

With the entire cast on perfect from, and cameos from all the great supporting characters; the Jew Producer, Judge Fudge (only missing Ling-Ling’s lame friend Steve from Long Island), The Drawn Together Movie The Movie delivers punch after punch of outrageous and hilarious animated fun. Just don’t watch it with the kids.

Wonder-Full

Wonderfalls
(Todd Holland and Bryan Fuller, 2004)

4.5 Stars

I watch too much TV. I’ll freely admit that. And in my never-ending quest to find the world’s greatest programming, I inevitably stumble upon some godawful shows along the way. Many of said shows run for years, bringing about that age old question “why is there never anything good on tele?”

And I shall tell you why there’s nothing good on, dear reader; it’s because that elite group of absolute genii that make up the high-earning producers of TVLand keep cancelling the good shows before anyone knows about them. Give plenty of advertising to brainless trite like Two and a Half Men (season eight now is it??) and Keeping up with the Kardashians, and no wonder the world is such a depressing place.

So we turn to Bryan Fuller, a man who has paved his way into cult culture by creating some of the most wonderful and life-affirming shows of the last decade. None of which made it past a second season. Shows such as the wickedly dark Dead Like Me, and the Technicolor wonder of Pushing Daisies, both of which were axed by foolish producers long before their time, and have since garnered huge followings via the wonder of DVD and the interweb. Not even fellow victim of cancellation Joss Whedon can live up to Fuller’s “success”; Buffy ran for seven years. And ended on Whedon’s terms.

Wonderfalls (which I admit I did not discover until researching last week’s Tarquin’s Top Ten, and would’ve certainly made the list of premature cancellations) is, like Fuller’s other creations, a bright yet somehow maudlin take on the world, shot in brilliant colour, juxtaposed with a delightfully depressing and altogether life-affirming story. It’s all really quite complex actually… Fuller is masterful in his depiction of a world that is so dreadful to live in, that we can’t help but want to enjoy it. And life. Hmm…

Anyways. Wonderfalls centres around underachieving Niagara Falls gift-shop employee Jaye (palyed with wonderfully sardonic air by Canadian actress Caroline Dhavernas) who one day discovers that inanimate objects talk to her, giving her cryptic advice and ordering her to help her fellow man. It’s kind of a modern day Joan of Arc story. And a better one than Joan of Arcadia certainly. On top of her new found animal muses, Jaye must deal with her overly obtrusive family (including the wonderful Lee Pace, who would later star in Fuller’s Pushing Daisies, as her theologist brother), a blossoming relationship with a married man (Tyron Leitso - Dinotopia, House of the Dead), and having the horribly pushy Tracie Thoms (Rent, Cold Case) as a best friend. It’s a tough life.

Thankfully, the all too few thirteen episodes of Wonderfalls encapsulate an entire self-contained story, and although it could clearly have run for seasons to come, this is one of those rare cancellations that manage to leave the audience just sated enough when the final credits roll. Bitterly funny, hopelessly romantic and altogether beautifully crafted, Wonderfalls is a real piece of rare TV gold, and one that alas, like so many, remain buried save for we merry few that traverse the mines to find them.

Keep it together Bry; one day we’ll cause a gold rush.

The Rise and Fall of the Babylonian Empire

Hotel Babylon
Season 4
2 Stars

There’s something to be said of five star accommodation. Whether it be that of a hotel or that of a television series, one finds comfort and solitude in one’s visits, expecting that very same quality with each and every visit.

When it first hit our screens back in 2006, Hotel Babylon sparkled with high class exuberance; a televisual treat that week in, week out, delivered some of the best drama that had hit our screens in a long time. Spearheaded by a top-notch cast; the ever great Max Beesley, Eastenders’ gorgeous Tamsin Outhwaite and erm… Games Master’s Dexter Fletcher, Hotel Babylon exposed the dark and gritty backdrop that forms the foundation of the glitzy world of five star fortune.

Having been working in a hotel, and indeed having read the original novel by Imogen Edwards-Jones not long before the pilot episode, I was delighted by the screen portrayal of the larger than life characters of the eponymous hotel, and for the first three seasons remained utterly delighted by their antics. Indeed, were I to review the first or second season of the show, I would give it the much coveted five stars it deserves. Unfortunately, the Hotel Babylon I have been watching this week is not the very same that I fell in love with.

By the end of season three, cracks began to form in the perfect interior of Babylon; having run out of stories taken from Edwards-Jones’ original book, the writers also seemed to have dried up on the ideas front. And so, like rats from a sinking ship, our much-loved characters began to flee; Outhwaite had already bowed out graciously at the end of season two, but following suit Beesley jumped ship halfway through season three, along with the breath-taking Head of Housekeeping Natalie Mendoza (The Descent). Soon followed, rather inexplicably, Lee Williams (Beesley’s replacement) and the long-standing Head Receptionist Anna Thornton-Wilton (Emma Pierson - The Worst Week of my Life, Charles II: The Power and The Passion).

So where does that leave us? Season four begins with newcomers Nigel Harman (another former Eastender) and on-screen wife Anna Wilson-Jones (Monarch of the Glen, Afterlife) taking over Babylon. Unfortunately, these new managers are not only utterly dull, but they just don’t fit in with the rest of the Babylon staff. As such, it is down to the only remaining original characters, sommelier James (Raymond Coulthard – Castles, Casualty), head barman Gino (Martin Marquez – The Bill) and newly appointed head receptionist Ben (Michael Obiora – Doctor Who) to take the reigns. Unfortunately, whilst these fine gents have supplied comic relief for the past few years, they are unable to carry the show, and at times the once gritty and dark world of Babylon becomes nothing more than high farce.

Dexter Fletcher meanwhile does his best to maintain some degree of class as Tony the concierge, but unfortunately the writers seem to have forgotten just how good an actor Fletcher is, and burden him with some simply daft story lines, a “Prince and the Pauper” esque episode standing out as one of the worst in the series.

It’s a real shame to see the downfall of Babylon, and sitting here now re-watching the first season, I can truly see why both viewers and actors fled during the show’s final days. From its glory days, the hotel got hit hard by the recession. It’s just a shame this one shan’t be coming back from the BBC’s graveyard of cancellation to rekindle the flame that once burned bright.

Life is a Mystery...

Glee:

The Power of Madonna
4.5 Stars

It’s not often that I feel obliged to write a review of a specific episode of a series (the pilot of the new Doctor Who withstanding), but after doubts I had last week over the new demi-season of the cult hit Glee, I felt that I had to sing out my praises at this weeks expedition into sheer joy.

I will, however, be careful to issue my first ever

*SPOILER ALERT*

simply because I have no idea where in the series you chaps way out West are at the moment. But anyways.

So, last week we kicked off with yet another Finn and Rachel heavy drone-fest, with some obvious choices in the “Hello” themed episode and little to no real progression in the story, save for making Shue out to be an utter douche by copping off with Idina Menzel only moments after getting together with the lovely Miss Pilsbury, and our impressionable principal sharing a night of despicable passion with the terrifying Coach Sylvester.

But that was last week. And tepidly, I tuned into this week’s outing, only to be confronted with the rather yawn-worthy revelation that this would be a Madonna special. Sigh. And indeed sigh I did for the first twenty minutes or so of generic whiny Rachel, dull-as-muck Finn banter.

And then a surprise. A true moment of Glee brilliance, reminding me why this show isn’t more aptly titled Twee. Coach Sylvester performing a beautifully shot and wonderfully choreographed “Vogue”. I literally grinned like a Cheshire Cat for the full black and white number. Following this, a moment I’ve been waiting for for a very, very long time; some of our wonderful supporting characters to finally take the spot light. And fortunately for me, twas two of my favourite Gleeks; the openly out Kurt (played with a tender beauty by real life homosexual Chris Colfer) and big black momma Mercedes (the delightful Amber Riley) performing the recent hit “Four Minutes”.

Meanwhile, elsewhere, we have three of our Glee couples all about to lose their virginity in a brilliantly arranged “Like a Virgin”, culminating in some really touching moments as our stars each realise just what there are getting themselves into and how very unprepared they are. The ensemble of boys following this up with a lovely a capella rendition of “What it Feels Like For a Girl” was a wonderful little touch.

This week’s Glee has done exactly what last week’s should have done, and yet tragically failed to; propelled this new demi-season forward with much aplomb, bringing to the front lines the always spot-on supporting characters (though I still feel sorry for the two football players… I don’t even recall their names “black guy” and “other Asian” as Sylvester refers to them. I don’t believe I’ve actually heard either one speak yet), and turfing out some truly memorable musical performances, none so more than this episode’s finale of “Like a Prayer”, which quite frankly gave me a couple of much needed shivers.

Glee, you’re back on form, in fine tune, and set for a great season. Keep hitting those high notes!

To Hell with the raggedy; time to put on a show

Doctor Who: The Eleventh Hour

4 Stars

I’m going to begin with a nugget of information to ruffle some feathers; I never really warmed to David Tennant. Admittedly, he’s the man that re-branded the Doctor, bringing him to a new generation with much aplomb, and for many he will remain the Doctor with whom they will always associate. But for me, despite his snappy attire and stalwart longevity, he just wasn’t the Doctor. And after that all too brief excursion with Ecclestone’s manic yet childlike persona, he was something of a let down.

And so, with rapt anticipation after New Year’s excellently executed (if perhaps just a tad drawn-out) goodbye from Mr. Tenant, we finally greet Matt Smith, the Eleventh Doctor. And what do we think kiddies? Well, I’ll tell you what I think (as I am so inclined to do so round these parts); wow.

Season “five” of Doctor Who pulls out all the stops; new producer, new theme tune, new title sequence, new assistant, new TARDIS, and of course, new face. Shedding everything that has made the show Tenant for the last five years, Stephen Moffat and his shiny new team have truly thrust us into a brave new world for the Doctor.

Episode one immediately throws us into the brink of things, with the regenerating TARDIS crash-landing in Nebworth, only to discover a breach in the time-space continuum located in the bedroom of a young girl by the name of Amelia Pond. Promising to return in five minutes, the Doctor’s somewhat fried time circuits catapult him twelve years into the future to find an escaped intergalactic criminal and an embittered Emily, now going by Amy. With only twenty minutes to save the world, the Doctor and his new companion race to find the escapee and stop the galactic police force from destroying the planet in order to put an end to Prisoner Zero.

The story’s a good’un, but let’s face it, at this stage in the game, we really don’t care… It’s all a question of “is he filling Tenant’s Converses?” The answer? Yes, and quite simply tearing them apart at their seams. Matt Smith (Party Animals) gives us an entirely fresh take on the Doctor, cheeky, bubbly, and just all round likeable. His warning off of the invading army has none of Tenant’s perpetual anger, and quite honestly, gives it all the more credibility. Rather than yet another “I’m the Doctor, Rarr, Rarr, grumble, grr…”, Smith delivers in a calm and collected menace that Tenant never really managed to pull off.

Delightfully unknown Karen Gillan throws convention aside as she steps into her assistant’s shoes. Without the baggage of predecessors Billie Piper and Catherine Tate, Gillan has the opportunity to really make her own mark in the Who-niverse, much as Freema Agyeman did in her portrayal of Martha Jones, so far the finest assistant of this run of the show (not counting The Cribbins of course). Sure, it will take time for some fans to warm to her, but I feel she will be a companion to remember.

So, Mr. Smith, I salute you. With Moffat behind you, I have a feeling you will go far; not only in time and space, but also in our hearts…

Was that a little cheesy? I think maybe it was… Oh well.

Thy Kingdom Come

Kingdom Hospital
2004

4 Stars

Back in 2004 (a time that seems so very long ago, and yet frightening to contemplate upon), renowned horror writer Stephen King embarked upon a grand venture to create the first “novel for television”. A very brave endeavour indeed, attempting to bring the feel of a book to the television screen, without it being based on a novel beforehand. A collection of core characters, along with those that begin in perhaps only one scene in the first few episodes, only to prove of vital significance later on in the story, with storylines interweaving and intertwining, culminating in one final outcome. In his writing, King has pioneered some of the greatest tales of horror and suspense of the last thirty years, and in every one weaves together interlocking story arcs like a literary seamstress. Kingdom Hospital is no different, and watching it now, one can truly appreciate King’s talent.

Based on Lars Von Trier’s (Dear Wendy, Antichrist) groundbreaking series Riget (which I shall be watching and reviewing soon), Kingdom Hospital revolves around the bizarre goings on at a state of the art New England medical facility, a place where phantom ambulances haunt the parking lot and the restless dead cause the earth to move.

The main story arc revolves around a young ghost girl named Mary (played with just the right balance of annoyingness and cuteness by Jodelle Ferland), whose spirit channels the comatose body of artist Peter Rickman (Jack Coleman) and psychic Sally Druse (Diane Ladd). Caught up in the plight of young Mary is maverick doctor Hook (an excellent performance by Andrew McCarthy), whose relationship between the patients and staff of the hospital drives the narrative.

Meanwhile, Bruce Davison gives a sterling show as Dr. Stegman, a surgeon who desperately tries to hide his gross incompetence in causing the vegetative state of a ten year old girl. His gradual decline into insanity at the hands of both the ghosts of Kingdom Hospital and the delightful downs-syndrome dishwashers Abel and Christa is simply a delight to watch, and a really quite impressive performance.

To list every character and every storyline in all their merits would be impossible, as King does what he does better than any other writer working today in creating a veritable chorus of everyday folk in all their foibles; a young doctor obsessed with a colleague twice his age; a hilarious German orderly; a neurotic British seismologist; a possessed serial killer; a giant CGI anteater, along with many others all coming together to make a real hospital community.

The story is excellent, and the acting spot on, coupled with a wonderfully atmospheric soundtrack and a sepia tinge that make for a top-notch eight hours of television.

So why only four stars? Well, anyone who is well-versed in King’s work will most likely be aware of his inability to pull off a good ending to anything with a particularly supernatural overture. In IT, we have the most bizarre and unbelievable finale, and the end of Desperation is just silly, just to name two. Unfortunately Kingdom Hospital is no different, and after watching the entire series, one does feel that the ending is something of a cop-out. I won’t give anything away, lest anyone feels so inclined as to go and watch it, but King’s resolution to the overall story jut feels too simple, and yet too silly to justify the events before it.

That said, Kingdom Hospital is certainly to be rated amongst King’s greatest works, and is well worth a look. I can by no means do it justice in a five hundred word review; there’s simply too much going on. So, please, rent it, YouTube it, or Heaven forbid, go and buy it. And check your soul in at the door.

Why I Hate Glee

Back in November, I stumbled across afore-to unheard of in the UK musical drama series Glee. Having never come across it beforehand, I watched the first episode with indifference, a feeling that was replaced with sheer and unbridled delight within moments. For weeks, I was humming songs from the show (Journey’s “Don’t Stop Believing” and CCR’s “Proud Mary” being amongst my favourites), and urging my friends to check it out. But did they listen? Did they heck.

And now? Now one can’t even look at Facebook without suffering the slings and arrows of outrageous fandom. It’s like a musical Twilight. “Team Quinn or Team Rachel”. For Christ’s sake.

Glee is an ingenious idea, playing off the success of recent cinematic events such as the High School Musical films, and Mamma Mia (to quote Hugh Jackman “The Musical is back!”). The story in a nutshell revolves around a school glee choir and the misadventures of both the students and the staff thereof. Musical interludes are in abundance, with every show culminating in a performance by the choir that somehow fits in with the theme of the episode. On paper, it’s a fair enough plot, but on screen it works with aplomb.

But it’s not just the music that makes this show great; the performances of the young actors are both intelligent and touching. Chris Colfer as Kurt is, quite frankly, outstanding. The episode in which he comes out to his father is one of the most beautiful pieces of television I’ve seen in a long time. Jenna Ushkowitz as “stuttering” Tina is breathtaking, especially in her performance of “True Colors” (I think I’m developing somewhat of a fetish for Asians singing that song… Disturbing…) and Amber Riley as Aretha-Wannabe Mercedes is a great big ball of black energy.

Unfortunately, these supporting and often show-stealing characters are often overshadowed by the “main” cast; Lea Mitchell as self-obsessed Rachel, Diana Agron as pregnant cheerleader Quinn, and Cory Monteith as Jock Finn… They’re all very good, but, in my humble opinion, there’s little originality in their characterisation. Hopefully when the second half of the series begins shortly, we shall see a little more new material in their personalities.

The adult cast are impeccable though, with Matthew Morrison stealing the show as downcast music teacher Mr. Schue, and Jayma Mays as the wonderfully cutesy Emma Pilsbury. I must admit to a huge “aww” when the finale came round. Jane Lynch also pulls on some big boots as bitchy cheerleading coach Sue Sylvester, the main antagonist of the series. Her interplay with Morrison is simply delightful to watch, with a bitter humour that is rarely seen in saccharine American sitcoms.

Okay, so I lied. I don’t hate Glee. I’m just not a sheep. I’m a gosh-darned shepherd; just no bugger listens to me. That’ll do pig. That’ll do.

Glee
(2009-Present)

4 Stars

Totally Wrong

The Wrong Door (2008-2009)

0.5 Stars

Anyone who knows my comic tastes is aware of my adoration for Mr Matt Berry, star of such cult classics as Garth Merenghi's Dark Place, Snuff Box and of course The IT Crowd. Indeed when I happened across Mr Berry on Carnaby Street last year, I was so overcome by awe that I forgot to ask for an autograph, let alone a photograph. But I did meet him. Honest. And he was beautiful.

As such, when I heard that Mr Berry had appeared in a prior-to unheard of by myself BBC3 sketch show by the name of The Wrong Door, I was drawn to it like a moth to a bonfire. Unfortunately, quite frankly, it's shit.

The Wrong Door, it appears was originally a CBBC pitch, which did not get picked up, so they threw in some damningly unfunny puerility to "appeal to an older audience". And the result is a thirty minute yawn, spattered with already dated (and only one year on) CGI effects, that the producers clearly thought would disguise the utter boredom that seeps from the "comic" material.

Usually, I am quite tickled by obscure humour, but there's obscure and there's just boring. A clear attempt at jumping on the bandwagon of the aforementioned shows, but lesson learned; "wackiness" does not equal funny. The half a star goes to Mr Berry for his four second cameo as a snooker player which just about raised a shadow of a smirk.

Please BBC3, let's try a little harder shall we? Or will we be running repeats of Little Miss Jocelyn again this Spring?

Time For A Cookie Party!

The Sarah Silverman Program (2007-Present) - 5 Stars

Comedy is, by and large, a man’s game. Entertainment history is spotted with great male comedians, ranging from the timeless Groucho Marx and Charlie Chaplain, to the inimitable SNL stylings of Steve Martin, Bill Murray and Eddie Murphy. Indeed, I would challenge you, fair reader, to name me ten truly popular comediennes without clutching at straws past number five.

And so, refreshingly, the cute-as-a-button politically-questionable Jewish princess known as Miss Sarah Silverman has finally found her place amongst the greats.

I first came across Silverman in her role as editor-in-chief of Sweetknuckle Junction in the short-lived puppet sitcom Greg the Bunny, a show cancelled long before its time. After supporting roles in a number of movies including Rent and The School of Rock, her face became known amongst students and bored office workers for the viral hit I’m F*cking Matt Damon, in which Silverman used her unrivalled talent for turning just about any topic into a catchy tune to poke fun at her then boyfriend, chat-show host Jimmy Kimmell. And from then, she was perhaps not a household name, but at least a cult figure amidst the YouTube generation.

The Sarah Silverman Program places Sarah beside her real-life sister Laura in a childlike world of political incorrectness and puerility that is made so charmingly cute by Silverman’s innocence and girlish pep. Literally larger than life gay stoners Steve and Brian complete the unlikely ensemble and aid Sarah in her quest to make sense of the big wide anti-semantic, anti-Semitic world.

Approaching with pre-school glee such subjects as racism, religion and the death of an ailing mother, Silverman takes us on a nonsensical yet compellingly hilarious tour of her mixed-up psyche, introducing us to such memorable characters as Homeless Mike, Norman the nerdy cat, Sir Corin Ashley (a wonderful appearance by the coolest cat in comedy Mr Matt Berry; Garth Merenghi’s Dark Place, The IT Crowd), and even God himself, with whom Sarah develops an “intimate” relationship.

The Sarah Silverman Show is certainly not to everyone’s taste, and is definitely not a show to watch with your Grandmother, but nevertheless showcases Silverman’s amazingly “dotnose” talent, placing her firmly in the ranks of the greatest Single Female American Jewish Comedians of all time.