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TV Review: After Life

March 17, 2019 by Becca Moody Leave a Comment

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Ricky Gervais has completely shaken up our perceptions of what he is capable of with his latest series After Life, showing how this comic can do heart-breaking as well as hilarious.

Set in the height of a beautiful English summer, After Life follows Tony, a middle-aged man who becomes suicidal after the death of his wife leaves him without purpose and without joy. He works as a features editor for a free local newspaper, cares for his dog Brandy, and visits his senile father (David Bradley) each day. In the fog of his depression, Tony decides to abandon all rules of politeness when it concerns people whom he deems undeserving. He chooses say what he wants, to whoever he wants because he no longer cares about the consequences.

After Life, at its core, is about the loneliness of losing that one person that makes the rest of the world fade into insignificance. It’s the kind of loss that forces you to look out into the world and take accountability for your place within all of that. The death of his wife Lisa completely shakes Tony’s world because he no longer has the excuse of locking the front door and turning the TV on, safe in the comfort that it’s those two against the world. In a strange way, the death of Lisa has forced him to acknowledge that he too is a participant in the world. And it’s this realism that makes After Life so terrifying. Gervais is not presenting us with anything particularly out of the ordinary; this is a real, genuine tragedy that many of us will endure at some point in our lifetimes.

Viewers will no doubt have an inkling as to where the narrative will end up, and After Life is almost the modern day A Christmas Carol that the trailer suggests it might be. Some of the dialogue is clunky in places, particularly Tony’s self-righteous, morbid verbal attacks, which are more frequent during the first episode as the programme begins to establish itself.

The words spoken do, however, consistently feel as though they are aiming at truth. Gervais’ personal passions are at the forefront of this series, more so than ever before. His love of animals and contempt of religion are prominent themes. In the moments where the writer’s personal views are most prominent (such as when Tony informs Sandy that ‘humanity is a plague’), criticisers of Gervais’ stand-up will no doubt have a field day. Yes, some of Tony’s arguments seem to be lifted straight from Gervais’ past stand up shows and old XFM Radio podcasts, but why not? They remain relevant because Gervais remains passionate about the ideas, and articulates them so persuasively.

The cast is made up of many of Gervais’ regulars, and is saturated with an abundance of strong female talent, from Mandeep Dhillon, to Roisin Conaty, to Diane Morgan. Whilst most characters arguably exist as pawns for After Life to drive its message home, they are still relatively complex and each have their unexpected quirks. Penelope Wilton in particular delivers a brilliant and emotive performance as Anne, a widowed senior who exudes the compassion that Tony doesn’t know he needs. Another character refreshingly overt in her moral judgements is Tony’s father’s nurse (Ashley Jensen), who, like Anne, doesn’t take any of Tony’s shit.

These outspoken characters are pivotal for Tony’s own journey, as they highlight how Tony’s grief is making him selfish and leaving him failing to remember (or care) that every person is hurting in some way, to some extent. At the end of the day, Tony isn’t really a Scrooge. In fact, as the series progresses it becomes increasingly clear that there’s a bit of Tony in all of us. He has a hatred of idiocy and a contempt of pointless conversation, but he is also kind, quick-witted and down to earth.

Gervais perfectly captures the rage that can come with feeling depressed. He subtly and intricately depicts how everything can feel like an offence, everyone else is an obstacle that reminds us of our own pain, and yet what hurts more is turning the mirror and reflecting on one’s own actions. But as the series develops, the genuine, pure humanity in each character is allowed to shine through. After Life shows human nature in its best light. The vast majority of people are kind and generous people who suffer and live.

After Life is a stunning and heartbreakingly poignant depiction of love, loss and the human condition. And with the soundtrack being enough to induce tears alone (including the master, Nick Cave, as well as Mogwai and Daughter), it is an undeniably moving dramatic feat. The overwhelming message is that good people (and dogs) really can remind you that you are good too. And what could be more beautiful, or important, than that?

January Comedian of the Month #43, Kerry Howard

February 5, 2018 by Becca Moody Leave a Comment

Each Comedian of the Month on MoodyComedy is a comic who has never previously featured on the website. Reasons for selection can include various current projects the comedian is involved with, or perhaps recent appearances on television programmes or podcasts. There is no strict criteria however, as Comedian of the Month simply stands as a collection of recommendations, highlighting interesting and original aspects of certain comedians and their work.

Kerry Howard is a comedy actress from Somerset who first came to my attention when she starred as Becky’s irritating sister Laura in Him & Her (which I, for some reason, only watched last year). Laura is a very annoying character, even bordering on detestable at times, but this is all part of her brilliance. Because she has genuinely vulnerable moments in parts, and her relationship with Becky (Sarah Solemani) is one of friendship as well as turbulent sisterhood dramatics.

As Solemani said herself in an article for The Guardian in 2013: ‘Often nothing happens in Him & Her, yet people really feel for the characters’. It’s obvious that in order to nurture a sitcom with characters that carry their own individual weight, not only do you need a brilliant writer (Stefan Golaszewski, of course, is the power behind Him & Her), but a skilful, experienced cast is surely required.

Witless: Kerry Howard (left) and Zoë Boyle (right)

More recently, Kerry has starred in BBC3’s Witless; a comedy about two fraught friends who get forced into participating in a witness protection programme when they witness a gang crime and their identities get leaked to said gang. Howard (playing loveable fool Leanne) stars alongside Zoë Boyle, who plays Rhona, an undeniably more jittery recipient to the new lifestyle the two are forced to adopt than the naïve Leanne. The show is now onto its third series, and as the episodes have progressed, Howard has increased the depth of the characters she plays, expertly tiptoeing along the line between being endearing and unbearably frustrating.

Him & Her, if you haven’t yet seen it, is available on Netflix, and the full boxset of Witless is on BBC iPlayer.

For more information, follow Kerry Howard on Twitter.

COMEDIAN OF THE MONTH

TV Review: Ill Behaviour, Series 1

September 19, 2017 by Becca Moody Leave a Comment

Drastic and outlandish, Sam Bain’s Ill Behaviour is a punchy comedic rollercoaster that follows Charlie (Tom Riley), who is recently diagnosed with a non-Hodgkin lymphoma, as his friends Joel (Chris Geere) and Tess (Jessica Regan) kidnap him in an attempt to forcefully administer his chemotherapy, which he had previously been refusing in favour of a more natural, homeopathic approach.

Recently divorced Joel, our main protagonist, wants to control everything; he needs everyone to play by his rules. Because in truth he is reluctant to accept change, and is very much against the thought of his long-term friends moving on in their lives without him. Joel’s character reeks of a need to keep things exactly how they are, so that he can feel stable, and there is something endearingly childish about that, making him likeable, if annoying from the offset. It’s easy to forget that the cast is so small, as the characters are big and loud, filling the space with noise. Sex addict Nadia (Lizzy Caplan) is a particularly complex character, adding an interesting tension within the group by introducing a romantic interest for more than one of the characters.

Ill Behaviour © BBC

An upbeat tempo paired with a core dilemma that is obviously rather wretched makes for a series that soon evolves from being a punchy sitcom to being a fairly complicated and bleak drama. This bittersweet storyline soon begins to feel like a film rather than a series, which gives it more emotional impact as the narrative reaches its dramatic conclusion.

And Ill Behaviour raises interesting questions: is this rejection of medicine, whether by our trendy juicing diets or perhaps the human body’s eventual rejection antibiotics, for example, really the plight of the modern age? Luckily for now, the rejection of treatment is only a matter of opinion, and not a physical necessity, so Charlie’s health can still be saved if everything goes to plan. But this is a comedy, after all, so why would it all go to plan?

CATCH UP WITH ILL BEHAVIOUR ON BBC iPLAYER

TV Review: This Country, Series 1

April 26, 2017 by Becca Moody Leave a Comment

This Country is a new mockumentary series about the life of teenagers in modern rural Britain. Written by siblings Daisy May and Charlie Cooper, this is a comedy that feels like light viewing, yet has somewhat of a cleverly undertone of despair.

Our protagonists, teenagers Kerry and Kurtan (Daisy and Charlie Cooper) are restricted by the monotony of life in this small Cotswolds village, taking their frustrations out on one another. They are rebellious and despondent in ways that an angsty teenager of thirteen or fourteen may be, yet it feels like Kerry and Kurtan are getting to this stage quite a few years late. All the people they grew up with have left the village; there is nothing for them there anymore. But this pair are reluctant to make a leap of faith and change their lifestyles, which leaves them stagnant in a place where nothing happens and pointless feuds take priority over genuine life aspirations, whether that be the result of highly competitive scarecrow competitions or arguments about who gets to use the oven next.

But This Country is not merely the embodiment of troublemaking child’s play; there are serious issues being tackled here as well. During this first series Kerry and Kurtan’s uncle gets released from prison, only to reoffend the same day; Kerry’s dad gets accused of being a Peeping Tom; and both teenagers must question whether either of them are able to forge successful careers for themselves inside or outside of the village. There is a similarly unbearable undertone of melancholy and unrealised ambition as that of Britain’s flagship mockumentary: The Office, with this obscure feeling of discontentment becoming more deeply imprinted in the viewer’s mind as the series progresses.

Despite their complaints, there is a strong bond between our two protagonists, which gives the whole programme some heart (so much so that all other characters seem to fade into irrelevance). Though it may seem easy to feel repulsed by the characters, with viewers possibly feeling they too need to escape the predicament Kerry and Kurtan find themselves in, This Country quickly becomes a compelling, if stifling, watch.

This Country expertly leaves certain things unsaid, creating an interestingly discomforting mood. Here is a thoughtful and stimulating satire, and while it’s a no brainer that fans of The Office should give This Country a go, it is certainly a comedy with a wide-reaching demographic, with frequent laugh out loud moments. I, for one, never thought I’d laugh out loud at the word ‘Tomato’.

CATCH UP WITH ‘THIS COUNTRY’ ON BBC IPLAYER

TV Review: Fleabag, Series 1

August 27, 2016 by Becca Moody Leave a Comment

At first glance BBC Three’s new sitcom Fleabag may give the illusion of being like any other modern day sitcom. A young, attractive but troubled lead with a turbulent love life, an uptight sister and a struggling small business; what more could writer and ‘Fleabag’ Phoebe Waller-Bridge bring to the table? But within the first episode the narrative is already swept in an interesting direction, with the suggestion of darker aspects to this person’s life than one might previously have assumed.

Beginning life as a one-woman Edinburgh show in 2013, Fleabag is a confessional tale of a young woman trying to succeed in her relationships, business ventures and in herself, but desperately treading water. Waller-Bridge’s writing is rude and provocative but refreshingly open and self-deprecating. Yes it is dark, and heavy at times, but this sitcom is undoubtedly really funny. The production itself is artistically daring in places, with dream and flashback sequences packing particular punch. And the coy looks to camera are a welcome release of tension for viewers, with Waller-Bridge’s knowing eye drawing us in for personal in-jokes that teach us more about her character, rather than serve as cheap laughs.

And the cast is not to be scoffed at either, with W1A‘s Hugh Skinner playing Fleabag’s intermittent boyfriend as well as Hugh Dennis as unsupportive bank manager and Olivia Colman as somewhat self-entitled step-mum. The small group of core characters are diversely peculiar, with each of their stresses manifesting in traits such as a limitation to the fluidity of their social skills or an avoidance of adult responsibilities.

There are plenty of laugh out loud moments provided by our star, drawn from her highly socially inappropriate sense of humour and an apparently uncontrollable mouth. But the issue at the heart of this unsettling comedy is one of great personal loss; whether that be the ongoing pain of having her mother die when she was young or the recent shock of losing her best friend in a horrific incident, Fleabag is coming to terms with her status in the world, and within her own disjointed family.

Fleabag is almost a comedy of errors; it is a narrative of social nonconformity: a depiction of a young woman struggling to accept herself, apparently terrified of real affection. Our almost-tragic lead is the receiver of everyone’s sympathy but does not often receive any genuine care. Disjointed, snappy and vibrant, Waller-Bridge’s Fleabag establishes itself very quickly before evolving into something else entirely; there are numerous moments in this programme that are absolutely exquisite.

FLEABAG IS AVAILABLE TO WATCH ON BBC IPLAYER

Ask The Expert: Stefan Golaszewski (Writer and Director)

June 30, 2016 by Becca Moody 1 Comment

Stefan Golaszewski is the writer and Executive Producer behind BBC2’s latest comedy success, Mum, as well as BBC3’s Him & Her, which won the BAFTA for best sitcom in 2014. Stefan is soon to be working on a second series of Mum, which has already been recommissioned by the BBC.

To learn more about the career of a comedy writer, I asked Stefan a few questions about his work…

What is your favourite project to have ever worked on?

It’s probably whatever I happen to be currently working on. Otherwise getting through the long and lonely days would be unbearable.

Mum, BBC2

Did you achieve everything that you wanted to achieve with Mum?

There are so many things that can go wrong in making a TV show. You constantly bang up against the limits of your own talent and the schedule. There are always things I’d like to have written differently. There are always things we had to sacrifice in the chaos of shooting. There are always things I did in the edit that I wish I could go back and unpick. But the actors and the team were extraordinary and I wanted to make a show that was truthful, warm, funny and moving, that spoke about what it’s actually like to be a person, and people seemed to appreciate that, so I’m pleased.

What is the most rewarding aspect of your job?

I like the act of writing. I like working with other people to make it better. I like the edit. I hate it when it goes out. The best thing is probably when people tell me my work made them happy. That’s why we all slave our guts out. So it’s lovely to hear it was worth it.

How would you advise young writers to get started?

Write all week. Take weekends off. Read things you didn’t know you were interested in. Learn to take criticism not personally but as a necessary step to improving your work for the good of others. You shouldn’t expect things to take off immediately, nor should you want them to. You need time to learn your craft, what it is you do and why it is you do it like that. Get your writing in front of audiences and learn from them. They’re usually right. Remember your work shouldn’t be a way of making yourself appear cool or clever or interesting. Its root purpose is the entertainment of others. They’re the ones who are paying for you to have a pretty special life. And remember that in writing there is no such thing as finished.

What is your next writing project?

A second series of Mum. More theatre.

FOR MORE INFORMATION ABOUT PAST AND FUTURE PROJECTS, VISIT STEFAN GOLASZEWSKI’S WEBSITE

ASK THE EXPERT…

TV Review: Mum, Series 1

June 25, 2016 by Becca Moody Leave a Comment

Creator of the long-spanning BBC3 sitcom Him & Her, Stefan Golaszewski, has been channelling his writing into a new six-part bittersweet comedy, Mum. The narrative follows recently widowed Cathy as she copes (rather admirably) with the loss of her husband and the addition of a new member of the family; son Jason’s new girlfriend Kelly, who is ditsy and initially very peculiar; seeming, if only at first, to stand in stark contrast to the rest of the family.

Mum is a comedy of frustrations and miscommunication. There are backstories to consider, such as poor Kelly’s dysfunctional, perhaps even bordering on abusive, relationship with her mother. Golaszewski utilises these subtleties to consider the boundary between indecency and secrecy, frequently flirting with the idea of blurring the line between the two, forcing viewers to acknowledge their own instinctive desire to pigeon-hole characters into tropes. And there is an undeniable warmth to the narrative and these character relationships, with the constant competing of noises proposing a nostalgic element for those who grew up as part of a big family.

Upon first viewing, some elements of the narrative may seem to be cliché, with the younger characters being highlighted as rather dense and materialistic. However, this softens as the series progresses and Jason and Kelly begin to make important life decisions, such as making plans to move to Australia. It is important to note that these personalities are not the problematic ones within the family dynamic. The bitter characters, though often overbearing in their brashness, serve as an interesting contrast against the virtuous ones, including hero of the hour Michael, played by Peter Mullan. This alludes to the notion of intentions conflicting with behaviours, with those who might be forgiven for struggling actually doing quite the opposite and those who seem put-together threatening to fall apart (note the crumbling marriage of Pauline and Derek).

Any potential over-exaggeration of antagonistic characters, Dorothy Atkinson’s Pauline in particular, is rescued by the subtlety of writing for our protagonist, Cathy. Lesley Manville shines in this production, with Cathy providing delightfully unexpected sarcasm and dark humour in moments of tension. Manville and Mullan make a tantalising onscreen pair and the potential for their friendship to blossom as each begins to move on from their past relationship is sweetly and realistically developed. This comedy is an exploration of a variety of humanity’s biggest fears, spanning from bereavement and loneliness to relationships and family values. Humble and sympathetic, Mum presents a narrative that has plenty of scope to flourish within a second series.

CATCH UP WITH SERIES ONE OF ‘MUM’ ON BBC IPLAYER

TV Review: Upstart Crow, Series 1

June 21, 2016 by Becca Moody 1 Comment

Written by Ben Elton (of The Young Ones and Blackadder fame), Upstart Crow is a BBC Two sitcom about the life and works of William Shakespeare, as part of the channel’s commemoration of the Bard’s 400th birthday. The cast is diverse and exciting, ranging from television-screen veterans David Mitchell, Liza Tarbuck and Harry Enfield, to stand up comedians Rob Rouse, Gemma Whelan and Spencer Jones, topped off with Helen Monks (Raised By Wolves), Mark Heap (Friday Night Dinner, Green Wing) and Dominic Coleman (Miranda). From the outset, viewers feel as though they can trust this cast.

David Mitchell’s portrayal of Shakespeare is a refreshing role change for the comedian. He plays a disrespected and under-appreciated playwright, whose work is openly criticised as being confusing, superfluous and grandiose (the bard himself having being famously labelled by the dramatist Robert Greene as an “upstart crow”, in effect, a boastful scavenger).

Many of the moments of laughter in Upstart Crow come from miscommunication, with Mitchell’s depiction of Shakespeare having an extra hurdle to negotiate as no other characters seem to be able to make head nor tale of his rhetoric. For those of us having briefly studied the playwright at school, we are frequently permitted the smug satisfaction of being able to appreciate a reference; something we were no doubt unable to do whilst actually studying. In this way, Shakespeare’s works are made accessible for an audience of all ages, humorously slammed by less-appreciative characters almost before Will has managed to utter beginnings of a metaphor.

The satirical misogyny is in abundance, highlighting the ridiculous nature of inequality spanning way back to the 16th century. Rob Rouse’s character, Shakespeare’s servant Bottom, is particularly moronic in his sexism (along with Kit Marlowe, played by Tim Downie; “A clever girl’s an ugly girl, Kate,”); stupid in such a way that is almost refreshing, as for once the female character is sympathised with by a modern audience. Predictable in places, perhaps, but the ridiculous nature of some of these plot lines is arguably in the same vein as of the bard’s own greatest comedies. It may be a push to label Upstart Crow an informative piece of television, but it certainly encourages further research. The life and works of Shakespeare are fondly ridiculed, with the satire skirting lightly on the border of cynicism. Here we have a modern twist on a widely-known historical figure that encourages a greater understanding of the wider context of Shakespearean Britain, and is already set to return for a second series.

UPSTART CROW IS AVAILABLE ON BBC IPLAYER

TV Review: Catastrophe, Series 2

November 23, 2015 by Becca Moody Leave a Comment

Catastrophe is back with a bang. Written by Sharon Horgan and Rob Delaney, time has moved on since the dramatic events of the last episode we saw back in January of this year.

Sharon’s baby bump, the reason that the pair are now married and living permanently in the UK, is now a toddler. Time has actually progressed to such an extent that episode one of the new series sees the pair welcome a second baby into the world: Moirin (assuming that this is the correct spelling; a suspecting extended family are assured that it’s an Irish name, and that she is not in fact called ‘Moron’). The humorous social and cultural ignorance shown towards the baby’s name, when teamed with the sudden, crude death of the family dog, certainly sets the tone for series two of this dark-humoured sitcom.

The ‘loser’ status of both characters, though particularly Sharon’s, seems to have elevated since series one but this serves as a surprising relationship strengthener for the couple who stand united against various bitchy false friends and family members (clearly showing that if the company is right, it doesn’t matter how small said company is). The onscreen connection has also cemented, showing that this fictional couple are genuinely friends as well as lovers, which is a great credit to Horgan and Delaney’s writing if nothing else and arguably serves as a platform for the darker humour scattered throughout the dialogue. It shouldn’t make us laugh, but somehow Rob referring to Sharon as a “psycho bitch” in French definitely does.

It is surprising, perhaps, that the children don’t play all too big a role in this comedy; Sharon and Rob are still, arguably rightly so, the integral focus of the narrative. In fact, it feels in many ways as though the majority of the characters in Catastrophe are inconsequential add-ons to the storyline, it often seems as though the couple don’t even notice when others are around, but this doesn’t mean to say that the extended cast do not bring their own elements of hilarity with them. Mark Bonnar and Ashley Jensen return to series two as fraught and bitter Scottish hardly-couple, Chris and Fran, and this pairing undoubtedly brings another dark element to the programme, which seems to be a recurring theme with Catastophe.

Catastrophe is a sitcom brimming with suppressed and entirely inappropriate giggles, with Horgan and Delaney effortlessly capturing the essence of what it means to be human; namely, being innately and irrepressibly self-centred.

CATCH UP WITH SERIES TWO OF CATASTROPHE ON ALL 4

TV Review: The Kennedys

November 8, 2015 by Becca Moody Leave a Comment

An adaptation of her comedy memoir, The Tent, The Bucket and Me, Emma Kennedy’s latest project is a wonderfully vibrant revisit to a seemingly strange childhood. The Kennedys is a microcosm of 1970s Britain, packed full of cultural references that would no doubt delight anybody who was alive forty years ago, but alas I was not. Perhaps, then, it is the stereotypes that I can best associate with; the new-age lasagnas, the cheese and pineapple on cocktail sticks, the disco dancing, but this does not entail that The Kennedys as a piece comedy is lazy in its observations.

Kennedy’s ten-year-old self is reimagined in the form of young actress Lucy Hutchinson, who acts as a voice piece for the adults around her. Emma’s mother, Brenda (Katherine Parkinson) is a giddy, excitable lady with a likeable naivety and admirable ambition for the completion of relatively simple challenges that she often hopelessly fails at (such as booking of a driving test a few mere days in advance, despite never having learned to drive). She is an endless source of embarrassment for her daughter, as is Emma’s father, Tony (Dan Skinner), who so often succumbs to Brenda’s wild schemes, thus leading to some very tricky situations.

The Kennedys is one of those television sitcoms that has a recognisable face at every corner, overflowing with comedy talent which is enabled to shine through due to the fantastic script. Tim (Harry Peacock) and Jenny (Emma Pierson) live next door and the two couples naturally divide into two pairs of friends, the women and the men. The relatively young group on Jessop Square are incredibly hard-working and well-meaning people, making their quirky relationships a joy to watch, and the way in which they are written is honest and reflective; these characters and their relationships are certainly not tropes.

Visually, it has to be noted that The Kennedys is a very attractive production and the ‘1970s’ look has certainly been achieved, as well as additional humorous visuals being slotted in, such as David Palmer, another Jessop Square resident, being delegated to sitting on the poof at Brenda’s dinner party, meaning he sits at least a foot lower than all the other guests. These flourishes are what make it clear that this sitcom has been years in the making. The attitude behind every line and every scene is one of warmth, a fond memory of how things used to be, and this can be appreciated by anyone, regardless of age.

The Kennedys is silly and sharp-witted; the music is fantastic, the characters well-rounded and the entire production heart-warming, original and uplifting- surely a programme not to be missed.

CATCH SERIES ONE OF ‘THE KENNEDYS’ ON BBC IPLAYER