![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Entry tags:
Two manky hookers and a racist dwarf
Really enjoying Torchwood: Children of Earth, to the extent that I'm even starting to find Gwen and Rhys slightly less annoying. Yes, I enjoyed (some of) the first two series, but they would have looked a little tatty on prime-time BBC1, whereas this doesn't; my family, for instance, were sucked in by watching the first two episodes with me in a way I don't think would have happened before (my dad aside, they're not even that bothered about Doctor Who). Plus, the whole 'We are coming' bit is providing a great playground game for all those children who shouldn't be watching after the watershed.
I'm surprised I've not seen more mention of how, in having unknowable aliens who at once control and somehow hunger for humanity's young, it's really echoing the final, John Mills Quatermass (the only one of those serials Who has yet to really rip-off, in spite of existing in the same continuity). Of course, that was set in a dystopian near-future, while this is set now, but how dystopian it still looks; the 456 may not be very nice (although as alien concepts go, so far they've been handled brilliantly) but they seem at least to have more of a commitment to open government than Britain's leaders. Speaking of which, the Whoniverse's recent run of Prime Ministers suddenly makes our lot seem almost desirable, doesn't it?
I'd heard quietly good things about hitman-com (and why is there one of those every few years?) In Bruges, but nothing quite prepared me for how funny it would be, and how consistently it would subvert expectations - well, at least until the last twenty minutes, where it makes that ever-infuriating decision to go with one of the Standard Hollywood Endings. Still, why does it not have more of a cult? Does it not telegraph its cult classic qualities quite as much as seems lately to be demanded? I can only hope that history will correct this injustice.
My parents, having become as disillusioned as everyone else with the state of 6Music in the hands of George Lamb et al, have taken to Absolute Radio (formerly Virgin) as the standard kitchen music. And while broadly speaking it's not bad, tending to play a wider and less-obvious selection that I would have expected, one thing I did notice: it's pretty rockist. La Roux, Lady Gaga, Little Boots and the like may be in the charts and all over the magazines, but they're not on Absolute. The one exception they made was for the worst of the lot, Florence & the Machine. Proper eighties pop is fine, they'll play Soft Cell as happily as everyone else does - but the modern synth stuff is just not here. In other words; landfill indie may not be as prominent as it was, but don't dare hope that the threat is totally gone. Boys with guitars are still the default new music for a lot of people out there.
Unrelatedly, pretty much: I saw a lot more English flags than Union ones flying in the countryside. That can't be good.
I'm surprised I've not seen more mention of how, in having unknowable aliens who at once control and somehow hunger for humanity's young, it's really echoing the final, John Mills Quatermass (the only one of those serials Who has yet to really rip-off, in spite of existing in the same continuity). Of course, that was set in a dystopian near-future, while this is set now, but how dystopian it still looks; the 456 may not be very nice (although as alien concepts go, so far they've been handled brilliantly) but they seem at least to have more of a commitment to open government than Britain's leaders. Speaking of which, the Whoniverse's recent run of Prime Ministers suddenly makes our lot seem almost desirable, doesn't it?
I'd heard quietly good things about hitman-com (and why is there one of those every few years?) In Bruges, but nothing quite prepared me for how funny it would be, and how consistently it would subvert expectations - well, at least until the last twenty minutes, where it makes that ever-infuriating decision to go with one of the Standard Hollywood Endings. Still, why does it not have more of a cult? Does it not telegraph its cult classic qualities quite as much as seems lately to be demanded? I can only hope that history will correct this injustice.
My parents, having become as disillusioned as everyone else with the state of 6Music in the hands of George Lamb et al, have taken to Absolute Radio (formerly Virgin) as the standard kitchen music. And while broadly speaking it's not bad, tending to play a wider and less-obvious selection that I would have expected, one thing I did notice: it's pretty rockist. La Roux, Lady Gaga, Little Boots and the like may be in the charts and all over the magazines, but they're not on Absolute. The one exception they made was for the worst of the lot, Florence & the Machine. Proper eighties pop is fine, they'll play Soft Cell as happily as everyone else does - but the modern synth stuff is just not here. In other words; landfill indie may not be as prominent as it was, but don't dare hope that the threat is totally gone. Boys with guitars are still the default new music for a lot of people out there.
Unrelatedly, pretty much: I saw a lot more English flags than Union ones flying in the countryside. That can't be good.
no subject
I don't really have a problem with anyone on 6Music apart from Lamb; it's still my radio station of choice (although Chill FM is a good bath soundtrack)
no subject
I would certainly like to see the deleted scenes, a few of them sounded good from references online. And I haven't, but this reminded me how good Gleeson is, so I shall certainly keep an eye out.
no subject
no subject
no subject
no subject
no subject
https://consultations.external.bbc.co.uk/departments/bbc/bbc-radio-2-and-bbc-6-music/consultation/bbc-6-music/
there is clearly a "would you like us to get rid of lamb?" question ;)
no subject
no subject
no subject
METAPHOR ALERT
i realised that if you were at a gig with all the 6music DJs they'd all be down the front (even nemone, just to try and fit in) except for lamb who would be talking very loudly at the bar.
no subject
no subject
no subject
I was a bit shocked when I saw In Bruges - I had expected some kind of fun action-comedy and was unprepared for the full-scale bleak tragedy it contained.
no subject
I was enjoying the subversion of the traditional resolutions - like when Fiennes shoots Gleeson in the leg because 'I had to do *something*'. From then shooting him in the neck onwards, it just seemed to revert to type a little, though there were still great moments (especially back at the B&B).
And above all, I didn't feel harrowed at the end, or any sense of catharsis. I'm remembering the laughs, not the deaths. So if it was intended tragically, I think they misjudged the tone.
no subject
no subject
no subject
no subject
I think the latter is a proper cult film - like Withnail or Gregory's Girl it won't register for years yet. I think the reason it's not been raved about is Colin Farrell. The received opinion is he's not supposed to be any good so no "tastemaker" wants to risk being laughed at for suggesting the opposite. It's kind of nice to have one good thing that's a little bit secret, though.
no subject
On the other hand, as someone who's watched and enjoyed all three versions of Alexander, I may not be quite the defender he needs.
no subject
no subject