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The Middle Of The End Of Time
Dec. 25th, 2009 11:54 pmThe reason I didn't get straight online to share my thoughts with the interweb...well, yes, I was also busy on some hard-fought games of Othello with the parents, but beyond that, I simply don't know what to make of it. The first time since the comeback we've had a named Part One and Part Two on TV, and fair enough because it's just too soon to say. I could have done without the Matrix bits, I guessed what "they are coming back" meant as soon as I heard it on the trailers, but the key Being John Simm stuff - I don't know yet whether that was good or not. I have invites for NYD which I may decline simply because I cannot wait one second longer than I need to before finding out where this all goes. Curse you, RTD, you glorious bastard.
In other news, I've finally caught up with Alan Moore's new 'underground' paper Dodgem Logic and...well, the articles by Moore, Graham Linehan and Josie Long are pretty entertaining, as you'd expect, if not any of their best work. The contributors you've not heard of mainly make clear why you've not heard of them; there's a lot of the sort of kneejerk hippy claptrap which eventually saw me lose patience with The Idler, the worst being the Lejome Pindling screed which rehearses the tired old complaints about 'manufactured pop'. Pindling loftily pronounces that Lady Gaga's "lyrical content is trash at best"; I suppose at least that quote is literate (if inane), which is more than can be said for most of his piece. Later he declares "The majority of albums I listen to nowadays have 2 tracks which I would consider good and a further 12 which I would say are questionable", unaware that he is himself one of those filler tracks. In between is the local content, one piece again by Moore, which I almost compared to a Northampton version of the less good bits of the capital's delightful Smoke before realising how unfair that would be. All Moore's previous Northampton work - and presumably his novel-in-progress, Jerusalem, have found the same wonder and strangeness in the town which most other psychogeographers can so much more easily pick up in London. Here, he and his collaborators are just taking the simple route and showing provincial Britain as a denatured, grotty dump. I'll give it another issue or two to settle in, clearly, but I really expect more from Moore.
And is it just me (and my family, in rare consensus) or would Wall-E have been a better film if it were half an hour shorter?
In other news, I've finally caught up with Alan Moore's new 'underground' paper Dodgem Logic and...well, the articles by Moore, Graham Linehan and Josie Long are pretty entertaining, as you'd expect, if not any of their best work. The contributors you've not heard of mainly make clear why you've not heard of them; there's a lot of the sort of kneejerk hippy claptrap which eventually saw me lose patience with The Idler, the worst being the Lejome Pindling screed which rehearses the tired old complaints about 'manufactured pop'. Pindling loftily pronounces that Lady Gaga's "lyrical content is trash at best"; I suppose at least that quote is literate (if inane), which is more than can be said for most of his piece. Later he declares "The majority of albums I listen to nowadays have 2 tracks which I would consider good and a further 12 which I would say are questionable", unaware that he is himself one of those filler tracks. In between is the local content, one piece again by Moore, which I almost compared to a Northampton version of the less good bits of the capital's delightful Smoke before realising how unfair that would be. All Moore's previous Northampton work - and presumably his novel-in-progress, Jerusalem, have found the same wonder and strangeness in the town which most other psychogeographers can so much more easily pick up in London. Here, he and his collaborators are just taking the simple route and showing provincial Britain as a denatured, grotty dump. I'll give it another issue or two to settle in, clearly, but I really expect more from Moore.
And is it just me (and my family, in rare consensus) or would Wall-E have been a better film if it were half an hour shorter?
