alexsarll: (Default)
The new Indelicates album is available for download on a 'pay what you want' basis. Which, for those of you who've never heard them before and need enticing, does include 'free'. Given it's the best album of the year so far, and I'd be very surprised if it weren't still the best come December, I think that's a pretty good deal. Hell, even if you can't spare the time to check out a whole album on my say so, just try one track: I would link to the beautiful, bereft acoustic version of 'Savages' except that's album-exclusive, so just for a change I'll recommend the disgusted Weimar cabaret stomp of 'Be Afraid Of Your Parents' instead.

Dean Spanley is an utterly charming film which I think will be loved by anyone who owned a dog as a child, especially if he was one of the Seven Great Dogs. Sam Neill, excellent even by his own standards, is an Edwardian clergyman who, when plied with Tokay, reminisces about his past life as a dog; Peter O'Toole, more cadaverous and cantankerous than ever, is the narrator's father. That narrator being Jeremy Northam, who makes for an excellent straight man and stops the whole enterprise capsizing into silliness, because this is a strange tale but emphatically not a silly one. It's based on a story by the great Lord Dunsany - though not one I know, so I can't speak to its fidelity or otherwise except to say that it definitely feels like Dunsany.

This lengthy David Simon interview - mainly about his new show Treme but of interest to any fans of his work - makes me realise how much I miss good lengthy pieces from the days when the Guardian's Saturday mag was slightly less flimsy. Compare and contrast this Jonathan Ross interview from the weekend, and note how much of the conversation is skimmed over, sketched in, especially when Ross talks about comics. This would not have been abtruse stuff - he's a smart man who realises he's evangelising to a general audience - but there's no space for it. What we mainly get, even while the paper tries to distance itself from the tabloid agenda, is a reprise of the Mail-defined talking points. Yes, from another angle, but wouldn't moving beyond them have been even better?
alexsarll: (crest)
Autumn's here, isn't it? The leaves have been falling tentatively for a while, but the chill came on Thursday night (after Glam Racket, which had played a song that would also appear at Poptimism, but because it's an instrumental and nobody else was at both, I have no way of knowing what it was), and then yesterday the barbeque had to move inside earlier than you'd think, and not just because the incompetent cat was too distracting, and then in the Open Air Theatre (and what a magical little grotto that is after dark, I've only previously been for a daytime Romeo & Juliet where if the weather wasn't wet, the leads certainly were) Daniel Kitson told a story about a story about Upper Thwackley, a lovely little village with an unusually high population of assassins, and in Upper Thwackley it was snowing and we could feel that winter on its way. A beautiful story, about a funny story - not something many people could carry off with a largely half-cut audience at midnight on Saturday.

Last time I tried to watch Stalin-son-com Children of the Revolution, my tape cut out halfway through because some asinine sport or other had over-run in the usual rude fashion which should see the whole pack of them exiled to specialist channels. Last Saturday it was shown again, and this time when it was promised. I love those weird low-key Australian comedies, which interchange the same set of actors (Geoffrey Rush, Sam Neill and Brenda Griffiths are all in this one) and have the same...deadpan's not quite the word, but there's a sensibility there which really works for me. The latter half was maybe not quite so good; well, it was for a while, but towards the end the serious fact that a lot of Western communists genuinely did believe the USSR was a good thing starts to overwhelm the comedy a little. Which may be correct, but is also inartistic; I don't let Wilde's rules on these things slide just because I agree with a given agenda.

"My local Oxfam throws out hundreds of books every month. Before they are binned, the front covers are ripped off, or the first few pages torn out, so no one else can benefit. There are three other charity shops within a radius of 100 yards – any one would welcome these books and probably arrange to collect."
Anyone who purposely renders a book unreadable is scum. Godwin be damned, this makes comparing Oxfam to the Nazis entirely fair game as far as I'm concerned.

In other news, my Tyranid army had their first outing this week and the lead monster punched a tank's face off. Geek relapsing is awesome.
alexsarll: (crest)
Look, it's not that I mind them messing with the Matter of Britain. Every generation re-casts the myth in its own image, it was always that way. That's why I don't object to stuff like the inexplicably multiracial court; when Britain changes so does Camelot, and if you disagree with that then bear in mind you just lost Lancelot.
There was a miniseries a few years back, also called Merlin, which starred Sam Neill; even before it rather ingeniously reconciled itself to the mainstream of the story, I was barely bothered about the inconsistencies because it was good TV. Neill was a younger, more action Merlin than I was used to, but he was still charismatic, wise - and he still had a good script. The basic idea here - Merlin has to work with an Arthur who's a prat, in spite of them hating each other - yeah, I can see that working. If the writers could write, if the Arthur had something to him (cf Excelsor in No Heroics for a similar idea done right, and that was on sodding ITV), and if the Merlin were more than just a whinging telekinetic who seems to have escaped from a particularly self-pitying X-Men storyline. Why does he have to be younger than Arthur? Never mind how much of the myth you just messed up for no apparent reason, is it just that you can't conceive of a story with a central cross-generational friendship, even though you've just introduced exactly such an element with Gaius? Even though Lord of the Rings and Harry Potter, not exactly niche entertainments, managed exactly that with characters who are, no offence, blatant riffs on Merlin?
And as for thinking Eve Myles could carry an episode as an enigmatic force when she's barely bearable as Ms Audience Identification in Torchwood...

Every iteration of Arthur says something about its generation. I don't like what this one says about mine.
alexsarll: (bernard)
Went to the New Royal Family's comeback show last night at the ever-baffling Lark In The Park - absolutely top hole. Lots of people out to see 'em, rewarded with [livejournal.com profile] icecoldinalex going back to blond. a new drummer in a very fetching sailor suit, and heteroerotic Bowie/Ronson guitar antics from [livejournal.com profile] charleston and [livejournal.com profile] thedavidx. Oh, and chocolate digestives, of course. New single 'I.W.I.S.H.I.W.A.S.GAY' made its live debut, except that live it's not a minute of electropop madness, it's 'Another One Bites The Dust' meets the Sugarhill Gang, especially once [livejournal.com profile] moleintheground got in there with the gay guest rap. That's gay meaning homosexual, obv.

Stardust is of all Neil Gaiman's works the one to show the most evidence of Lord Dunsany' influence - and that's saying something. Nonetheless, even the success of the lovely film version did not prepare me for news of a Dunsany film. I confess that Dean Spanley is not a work I know, but if Peter O'Toole, Sam Neill and Jeremy Northam are all in the film, then I have reason to be optimistic. Though I note they have all also worked together on the dismal Tudors, so maybe I should be expecting an announcement of Joss Stone joining the project as the King of Elfland's daughter.

I've noticed the whole Georgia farrago has been mostly absent from my friendslist, and I don't blame people, because there's not much to say; Russia's throwing its weight around again, there's sod all we can realistically do about it, and certain sections of the Left are creaming themselves with glee and blaming the US, just like the old days. But this one I cannot let past without comment: "It is rare that all the blame is on one side. In fact, both sides are probably to blame. That is very important to understand," Germany's Chancellor, there, talking about a war. Perhaps she should acquaint herself with the biographies of some of her own predecessors, she might find a rather startling counter-example. That sort of moral equivalence and equivocation gets my back up whoever's spitting it, but coming from someone in that particular job, is simply chilling.
(And while I'm back off the current affairs wagon:
Paul Duffy, 35, from Castlemilk, was part of a four-strong gang who smashed their way into a car dealer's home...The High Court in Edinburgh heard that Duffy was freed on bail nine days before the raid in February. He had 52 previous convictions for crimes including robbery and carrying a knife.
And this man has been sentenced to...50 months. It being deeply unlikely that he will even serve the whole of that. Seriously, what are the odds that this man's continued existence will ever do other than taint the lives of other, better people? What possible purpose is served by allowing the continued existence of a human being so fundamentally rotten?)

I realise there are few lower forms of blogging than 'point and laugh at the interweb mentalist' but what the Hell - go here, skim the article (which is filler, frankly), and then check the comments from a prize pillock I may have mentioned before, 'anytimefrances'. ATF's feeble brain is entirely consumed by a knot of obsessions - chiefly, the notion that rock and rap music (they're interchangeable) are synonymous with drugs and noise pollution, and that they're leading to the demise of Real Literature and Proper Music. In and of itself this would be of strictly historical interest - in an age where even the Mail covers Glastonbury without much hysteria, seeing such retrograde opinions in the wild is a bit like finding a living coelacanth, except uglier. What raises the experience to the level of comedy is that while ATF grandly proclaims its own cultural and intellectual superiority to the foolish rock fans, its incoherent arguments are unfailingly delivered with worse spelling and grammar (never mind sanity) than anyone else on there: "wake up to reality. don't pretend, we can turn it up 'real loud' because everyone loves it. it's sick humiliation detritus." Though I admit that's an atypical quote - for starters, the apostrophes are in the right place.

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