Arrested Development Series Five

This review contains some spoilers for the fifth season of Arrested Development. I recommend watching the show before reading.

I think I should probably clarify upfront that I’m not really as harsh on the fourth season of Arrested Development as many seem to be. Not that it’s anywhere near the heights of the first three, but I found the way it worked around its restraints admirable, even if it created something that neglected the family dynamic that the series is best known for. What I think I liked most about Season Four, however, was how it positioned itself as Arrested Development as made for a streaming platform. In the past, Arrested Development has had overarching series narratives, but mainly attempted to wrap up smaller stories within the confines of one episode. However, with the show now able to be binged in a matter of a day, it makes more sense for Arrested Development to build its trademark twisting narratives over a longer stretch.

Arrested Development Season Five is by most accounts better than Season Four, but it makes some decisions that run counter to how Arrested Development is currently presented. One of the biggest is having to start from the admitted mess that Season Four left the series in. Season Five eventually moves past most of the more questionable plot-threads left dangling by Season Four, but not before they slow the season down considerably with long narrator recaps of previous episodes. Ron Howard again plays dual role as bad actor and good narrator, but here his role telling the story is beefed up considerably. You can see this as continuing from “Season Four Fateful Consequences”, where the remixed way the story was told meant Ron had to present five minute recaps of the story so far at the start of each 20 minute episode. It’s just as exhausting here as it was there, although at least now Howard begins to disappear as the series finds its rhythm, rather than getting more intrusive.

Speaking of the season finding its rhythm, Netflix has confusingly started to split up its comedy shows into two half-seasons, presumably in order to reduce their bingeability, or to drum up twice the hype, or maybe there’s some complicated business decision that shows most people watch Netflix comedies in two halves over the period of a couple of months. A move like this works for a show like Unbreakable Kimmy Schmidt, which is reasonably exhausting to binge, what with its commitment to a machine-gun barrage of jokes as opposed to having its plot make much sense. But Arrested Development has a very different structure to Kimmy Schmidt. It has retained its complex overarching narrative from Season Four, but now that narrative has been split in half by Netflix. The season has somewhat of a ‘mid-season finale’ in the form of the 2nd July Parade, but that Parade doesn’t wrap up most of the Season’s ongoing plot-points. Some of them get satisfying answers, but most are left in a half-way state. It seems like the decision to split the season was made halfway through production, because I doubt the commitment to an ongoing narrative would have been made had the team known about the split.

The split also affects the quality of the jokes in Season Five. Arrested Development‘s jokes are built through complex repetition. Each new joke has to be introduced a number of times before it becomes a classic by being exposed to new contexts. That’s not to say the show’s jokes aren’t funny the first time, but more a testament as to how it can turn a simple catchphrase like ‘I’ve made a huge mistake’ into something special. Season Five can still pull out jokes from its old bag of tricks, but the split makes establishing new ones much more difficult, and if I’m being honest, I find it difficult to remember most of the new running gags Season Five attempts to establish.

Some of the jokes that do work still aren’t perfect(o). Take, for example, a pretty genius gag from the season “finale” in which, during the parade, the Milford Academy marching band plays in true Milford fashion. It’s one of the funniest jokes in the episode, and would be something only worth mentioning as a positive, did it not run for about 30 seconds, after the point has really been made after about 10. I’ve really harped on about this before, but I think it’s worth saying anyway. The reason most comedies should stay 20 minutes is because it forces a high density of quick, fast jokes. Jokes don’t get worn out, because there isn’t the time, and jokes that don’t deserve to be in there get cut, because there are better jokes that need the time. Arrested Development Season Five tries to stay more towards the 20 minute mark than Season Four, which can only be a positive, but it still lets its Netflix freedom get the better of it, with the season finale being a whopping 35 minutes long.


I think I’ve been quite negative about the season so far, so let’s rectify that a bit, because it’s still enjoyable enough. The real highlights of the season comes from two characters; Maeby and Tobias. Maeby’s turn as Lucille II’s fake pensioner sister is everything Arrested Development should be; it’s a funny premise that allows for the show to mix in weirdly dark humour (Stan Sitwell’s advances on Maeby), an exploration of messed up family dynamics (Maeby feeling Sitwell could provide the paternal figure she’s missed all her life) as well as still allowing Maeby to fuel the Bluth family plotting through her semi-serious advice to George-Michael.

Meanwhile, as Maeby attempts to move away from the family, Tobias tries desperately to fit in, despite gaining new family of his own in the form of his son/stage-partner as played by a nervous Kyle Mooney. Tobias’ need to fit into his adopted family while completely neglecting his own wife and children is a ripe vein for comedy, especially as he tries to get his own son into the acting (or at least clowning) game, completely oblivious to the reality that there’s more to life than being famous.

Arrested Development Season Five has some real highlights, and I’m tentatively glad it was made, as long as the second half of the season carries this momentum into its second half. But its necessity is still questionable, and the split does nothing to help its case. The cast is still funny, and watching the Bluth family plot against each other to little avail is always enjoyable. But one can’t escape the feeling that Arrested Development should have been allowed to end on a high, or at least that it should have kept the format that allowed its ‘Rube Goldberg machine of comedy’ style to thrive.

Stray Observations

  • I neglected to mention the Jeffery Tambor scandal in the main text, but while it’s true that the New York Times interview was painful to listen to, this season was apparently made before the scandal broke, so while any future appearances by Tambor on the show would be questionable, his role here is at least understandable.
  • Both Arrested Development and Kimmy Schmidt now have the protagonists working for tech companies, although Kimmy‘s seems completely out-of-touch and based on extremely old stereotypes compared to Arrested‘s portrayal of Google.
  • Despite the hype about the whole cast being together again, Portia De Rossi is still green-screened in and missing for much of the season.
  • Although I called out Tobias and Maeby for best of the season, honourable mention goes to GOB, whose telephone call with a suitcase, rotating conversation with Tony Wonder and purchasing of a closet company are all top-notch gags.
  • Clearly the best joke in the season is the multi-car lying at the Mexican border – everything about it is near-perfect; Michael’s twisting of George’s terrible lies; George-Michael’s twisted face as he believes he’s caught his father and Barry riding that motorcycle.

The Big Bang Theory

As promised, this month’s post is something a bit different to the norm; a commentary of an episode of The Big Bang Theory, providing some rough reasons why I think the show really isn’t very good. This is my first video, and, much like my thoughts towards my early blog posts, I can see loads of areas for improvement (for example, I probably should have written a full script rather than just some notes) – but that’s all part of the process. I hope you enjoy this departure and aren’t as annoyed with my voice as I am.

If you want to see more like this, or alternatively want the idea of it scrubbed from the face of the earth, just leave a comment and I’ll take it on board. A new blog post is still being worked on, and should hopefully be up by next month, but you already know how bad at scheduling I am.

Now sit back, relax, and enjoy me saying the word ‘Bazinga’ a bunch of times.

Top 7 Films of 2017

2017 continues to prove itself excellent as we move into the realm of cinema; I’ve seen about 50 films this year, so not everything, but not a shabby amount either, and there’s a lot to recommend. You might notice that this list is in alphabetical order; that’s because I was, in fact, having such a difficult time deciding on the order of films that I just gave up entirely. Like last year it’s worth reminding you that because I live in the UK there’s quite a few films that have released overseas, but not over here; Lady Bird and The Shape of Water and The Third Murder are three that spring to mind as potential omissions from this list. This also means that films released in 2016 in America, but in 2017 over here are applicable for my list, seeing as they were left off last time. So, without further aideu,

Honourable Mentions

As I said, this year has been excellent for films, and this meant that even picking the honourable mentions involved a whole lot of tough decision making. I think some films that came out early in the year and that I have yet to rewatch suffered the cost. Manchester By the Sea and Moonlight were both fantastic dramas, and Moonlight especially deserves to be lauded for its importance and the beautiful way it told its story. The three more recent films I would like to also mention are Blade Runner 2049; The Florida Project and The Disaster Artist, the former two of which narrowly missed out a place on this list.

Baby Driver

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The last film made by director Edgar Wright before this was 2013’s The World’s End, probably the weakest of the ‘Cornetto Trilogy’. But before that he directed Shaun of the Dead, Hot Fuzz and Scott Pilgrim vs the World, three of my favourite films. So to see him back on form is a treat. Baby Driver is exactly the film the premise describes; a car chase/heist movie literally set to music. The best scenes in the film exemplify this vision. The initial set piece of a car chase set to Bellbottoms is the perfect opening statement, while a gun fight where each shot fires to the beat of Tequila is sublime. There are flaws here; the central romance is undercooked and the final act runs a little long. But I think the most telling thing about Baby Driver is that I went to see it in the cinema 4 times, twice as much as any other film on this list.


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There were, amazingly, two subversive Kaiju films that released in the UK in 2017, but while I have every respect and love for the Iannucci-style comedy of Shin GodzillaColossal is the clear choice as the better film. To just describe the plot of Colossal would be doing it a disservice, because written down it becomes silly. But yes, this is a film in which Anne Hathaway ends up controlling a giant monster in Korea whenever she goes to a certain park at a certain time.

It’s an extremely strange plot, but that the film manages to make it work so well would already be a marvel. That the film also tackles subjects such as alcoholism and abusive relationships through the lens of this plot is even more remarkable. However, Colossal is not just a gimmick – it’s a truly great film, and one I urge you to seek out, because judging by the box office results; you haven’t yet.

Get Out

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At a certain moment during the climactic scene of Get Out, the audience at the cinema I was at burst into applause and cheers. It was a moment of huge relief, to be sure, but in no other movie I’ve seen in the cinema, horror or otherwise, has that sort of spontaneous reaction been elicited from the audience. That speaks to the power of Get Out; a satirical horror-comedy in the vein of The Stepford Wives; a black guy visits his white girlfriend’s parent’s house and finds that not all is as it seems.

Where Get Out finds such great success is in its target. Not content to go after the standard “hillbilly” racist, Get Out reaches for a subtler target; something much more prevalent in modern liberal society, and thus much scarier for it. This is a film for 2017, but to restrict its influence would be unfair, because even without the backdrop of the current political climate, this film is smart, funny and extremely creepy.

La La Land

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Damien Chazelle’s first film; Whiplash, shot up my ranking of favourite films quicker than almost anything I’ve seen before. La La Land, while continuing the jazz theme, seemed like such a departure from the thriller genre that defined Whiplash, that I was skeptical I’d love it quite as much. I was a fool to be skeptical, though, because La La Land is something extremely special.

The musical numbers are all instant winners and shining examples of filmmaking at its most visually impressive. The plot is something that initially seems like a simple love story; a vehicle for these musical interludes, but quickly reveals its depth, leading to an utterly heartbreaking epilogue that I can’t even think about without tearing up. A stunning achievement.


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mother! is a film that courts controversy, but I think it’s too easy to get lost in the discourse surrounding the film and forget that what’s being discussed is a truly amazing piece of horror filmmaking. Basing its story on an allegory that becomes pretty obvious around 20 minutes into the film (but which I still won’t spoil here), mother! uses this base storyline in order to explore more complex themes such as human destruction of the environment; the creative mind and abusive relationships.

So much can be read into the strange and surreal visuals and characters of mother!, that some may regard this as a weakness; that the film is too vague to say anything of any note, but I regard it as a strength; the film is made to be discussed, and hopefully will be for quite a while longer. Even scraping back those layers of subtextual storytelling, the basic filmmaking skill on display is to be marvelled at. Everything, from the camera’s close claustrophobic focus on Jennifer Lawrence to the emphasis placed on certain sound effects, racket up the tension and make for a horrifying; unforgettable and truly unique cinematic experience.

The Death of Stalin

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The Death of Stalin is much funnier than a film about the struggle for control over Russia after Stalin’s demise has any right to be. It is, however, a clear perfect fit for the writing talents of Armando Iannucci, who specialises in the political farce. Free from the suffocating terror of Stalin, the film documents the struggle for power over those who worked directly underneath him. The Death of Stalin could have easily worked as simply a clever political farcical comedy like The Thick of It, and certainly it includes a lot of that.

However, what elevates it is the ability to infuse the comic with the tragic; to reduce the leaders of the Soviet Union to clowns while also reminding us of the tragic consequences of their power. In the opening scene, a radio producer has to struggle to find a replacement conductor for a re-performance of a piano concerto, specially requested by Stalin himself. The farce elements of the producer trying to find a conductor for his impromptu performance is offset by the way the conductor is found; armed guards storming buildings and carrying people off in the night. It’s this delicate balance of comedy and horror that The Death of Stalin plays off to great success.

The Handmaiden

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The Handmaiden is an extremely clever erotic thriller, as you might expect from director Park Chan-Wook; based on a novel set in Victorian England, the action is transposed to Korea under Japanese colonial rule. There, the film follows three individuals; a wealthy Japanese heiress; her Korean handmaiden and a faux Japanese count. The interplay between these three characters fuels The Handmaiden, with each of their different goals and schemes leading to a multitude of complex twists that shift the focus between characters, as well as the audience’s sympathies.

If that weren’t enough, the film takes the time to comment on class, porn and sexuality, as each of those things becomes an integral part of how the characters play off one another. The Handmaiden also provides a showcase for one of the best pieces of cinematic architecture I’ve ever seen; a half Victorian half Japanese mansion that holds various tricks and secrets among its sliding doors and imposing bookcases.

So that’s 2017 all wrapped up. Here’s to an even better 2018 for pop culture (and hopefully for global affairs as well (although that might be too much to ask))


Office Politics

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Before I begin, it’s worth saying how this post will likely draw some ire, so I think I need to do some major clarifications before I begin. First of all, this is by no means trying to be any sort of definitive ranking of the two series, because both have carved out their own niches enough that they can happily co-exist. I’m also not trying to find out which one I prefer more, because I already know that I prefer the original UK version of the Office. I think that’s worth putting at the front, because it serves as a useful lens through which to view the rest of this essay, but also because a large chunk of this essay hopes to prove why I feel this way in a slightly more detailed way than ‘I think this is funnier’. Hopefully though, fans of both series will be interested to see an evaluation of the differences between the original and the remake; what gives each its unique flavour, and what makes fans so passionate about defending one against the other. Both shows have been highly lauded and hugely influential, and exploring these titans of comedic pop-culture is always an interesting challenge. One further clarification should be mentioned. While I will be mentioning the Office UK’s Christmas Special, my focus will be on the main two seasons. What’s more, I will only be focusing on the US Office Seasons 2-5, with little mentions of the later seasons. This is mostly for the sake of fairness; most fans of the US Office agree the show went downhill in its later years, and comparing lesser episodes of the US Office to the UK Office (which was able to maintain a consistent quality thanks to its shorter length) would feel a bit wrong. Moreover, the first series borrows plots and scripts wholesale from the UK Office, which puts it in opposition to the tone and style the series would come to be known by.

Deciding where to start this comparison would always be tricky, but the most obvious place to start is with the respective show’s intros. I’m not talking about the pilots, but about the opening themes, which demonstrate neatly the shows differences in tone. Sure, both begin with shots of the city, but the songs used couldn’t be more different. The UK version is a melancholy tune, the opening video shows no characters, and the landscape it depicts is the grey and lifeless concrete blocks of the Slough trading estate. Meanwhile, the US version has a much more upbeat feel to it; Scranton isn’t all trading estates, it’s old clock towers and a (literally) welcoming sign. The US Office’s opening also introduces its cast within the opening credits, and when it does so, the tempo of the theme picks up (about 6 seconds into the opening). Characters aren’t shown doing as wacky hijinks as something like the FRIENDS opening, but it’s not all doom and gloom. The UK Office presents its mission statement as something quite quietly melancholic, whereas the US one welcomes you to Scranton and its colourful cast of characters. So, it’s a small thing, and one I’m sure many viewers will pick up on, but its worth commenting on nonetheless, because it instantly makes an impact on the viewer and informs them of the mindset to enter into when watching. The US Office compounds this in its second season (which marks the point it clearly breaks away from the UK mould), by introducing cold opens. It’s important to note that while the cold opens occasionally have an effect on the rest of the episode, or on the character dynamics, they are almost always comedy-focused. The most famous of the US Office’s cold opens is Dwight’s fire drill, which becomes the focus for the rest of the two episode arc, but is primarily focused on comedy first. That’s because the US Office is once again setting the tone for the series in its first few minutes. Neither of these things may seem as important as whether you like Michael Scott or David Brent more, but they are indicative of the show’s overall aims.

Both the US and UK Office are clearly very accomplished show, but it’s their success in achieving the tone they introduce with their openings where my central point lies. I think it’s important to lay out my central hypothesis as soon as possible, so that hopefully my other points start to make sense. In my opinion, the US Office, while being a fantastic show, never managed to escape the influence of its UK forefather, because it became shackled by the conventions of that show. To put it in a really clear example, let’s look at…

The Office as Documentary

In both versions of the Office, the show uses the framing device of a documentary in order to tell its story. While nowhere near the first mockumentary, the UK Office was certainly one of the first major proponents of the genre on TV, and the format became vital to the show’s feel and premise. David Brent is half the way he is because of his awareness of the cameras. So many of his lines and actions are directed towards the camera; he’s showing off, he’s trying to be funny, and that he’s so obviously performing for the camera makes his act that little bit more pathetic. When the series crossed to the US, the documentary style crossed with it, and the US show found a completely new way to make it an integral part of the experience. While Scott still plays to the camera a little, its main use is for the confessional segments of the show; where one person says something, and then turns to the camera and says a completely different thing for a joke, or for more heartfelt moments. Both shows have both parts of the documentary style, but each puts its emphasis on a different part. However, the documentary stuff in the US Office almost always feels unrealistic. It hasn’t really been thought out properly; the main use is for gags, and the show really feels like it often wants you to forget that this is a documentary. Instead, it wants to have its cake and eat it; it wants the cutaway gags and the occasional use of the cameras as a plot device, but it also wants to be able to do things completely unrealistic for a documentary (like go on for 9 years).

So here’s where I’m going to bring in another show; Parks and Recreation. Parks and Rec was created to be a spin off show to the Office, and its two creators were Greg Daniels, who was the show runner for the Office, and Michael Schur, who worked on the Office (and played the role of Mose Schrute). Parks and Rec does indeed have its cake and eat it. It uses cutaway gags in the exact same way the Office does, but it circumvents the problem of realism by never mentioning a documentary or documentary crew. Shows like Modern Family did the exact same thing; taking the part of the documentary format that worked the best for comedy, and leaving out the baggage because the audience doesn’t really care. The Office US hadn’t quite figured that out yet; from its start it had boldly followed the UK Office into the documentary style, but when its scope and tone evolved, the show was left with a few things from the UK Office that never quite worked. The documentary style is one, while the other is…

The Office as Cringe Comedy

The UK Office is one of the prime examples of a cringe comedy; a show that, at points, almost hurts to watch. It’s this aspect of the show’s comedy that often marks out the UK version of the show as the less popular of the two (not, mind you, the worse). It’s because cringe comedy is extremely divisive. It’s worth noting that the cringe comedy of the UK Office isn’t equivalent to ‘UK humour’ (if such as thing exists) – cringe comedy is universal, but the UK version of the Office certainly employs it more liberally than its US counterpart. Cringe comedy relies on a certain kind of comedic incongruity; that the character (here David Brent), is someone who completely sidesteps social norms and is incredibly egotistical and selfish. Cringe comedy relies on the viewer not being disturbed by this, but instead finding it amusing, while those who aren’t as open to this style of comedy will find this specific kind of humour annoying. It’s important to note that this isn’t a judgement on the show’s humour, nor on the people who either like or dislike this style of comedy. But it’s equally important to notice that the UK Office trades almost exclusively in cringe comedy. The US Office, then, when adapting the UK Office had to adapt this particular aspect as well. Much like the aforementioned documentary style, it’s a key aspect of what makes ‘The Office’ ‘The Office’. Nevertheless, as the US Office progressed, the show runners decided to play to their strengths with a broader style of humour. As such, while the more painful elements of the comedy are still present, they’re toned down and less divisive humour replaces much of it. Michael Scott is still an awkward, socially transgressive and egotistical boss, but the kinder elements of his personality are played up a lot more, and the series is as a whole less grounded in reality, meaning that the cringe elements are a lot easier to swallow. For many people, it’s this shift in humour that really makes the US version superior.


However, it’s worth considering the effects this shift has on the US Office. I think for this purpose, we can look pretty much exclusively at the Series 4 episode; The Dinner Party. This episode has been constantly lauded as one of the US Office’s finest episodes, and I can’t help but agree with this. But it’s also worth noting how tonally inconsistent it is with the rest of the show. The episode plays up a lot of the cringe comedy elements to the point where it’s nearly unbearable, but it keeps itself on the right side of the line with enough laugh out loud moments to be worthy of praise as a tonal balancing act alone. But this episode really feels like it’s trying to cater to the UK Office’s influence rather than steak out its own path. The character of Jan, for example, is hilarious within the context of the episode, but her arc over the course of the series is a constant downer; it’s a showcase of a mental breakdown, and while it may be slightly exaggerated, it’s much more in the comedic style of the UK Office than the US show it actually appears in. I think characters like Jan and Ryan, whose life stories come very close to the depressing, are the US Office’s attempts to pay heritage to its roots. But deep down, the show desires to be more like Parks and Recreation, which it will eventually become. So the show has these two creative directions pulling it in opposite directions. The desire to remember where the show came from creates these interesting and depressing character arcs, as well as the more cringe moments of the show’s comedy. Meanwhile, the natural comedic instinct of the show’s creators are pulling it towards being something much lighter in tone, and more akin to Parks and Rec, Brooklyn Nine Nine or any of the other shows that were either created by Schur and Daniels or were inspired by them. Sometimes, as in the case of The Dinner Party, these creative directions will work and produce great episodes of television, but when viewed as a whole, the inconsistencies in the show’s tone start to show.

Close studies

Ok, so hopefully you know understand my general attitude towards both versions of the Office. With that done, we can now move onto some closer studies of specific scenes and characters that appear in both versions. This isn’t exhaustive, nor is all of it that enlightening. But I think it’s still a useful exercise.

The Fire Drill

The Fire Drill cold open is one of the funniest and most famous of the US Office’s cold opens, and in fact forms the basis for a two episode long arc. In the UK Office, the fire drill is pretty inconsequential. Let’s focus first on that one, because it highlights neatly the two areas that I was just rattling on about. Firstly, the documentary format is put to good use, because Brent constantly speaks to the camera, and brags about how, while the drills are required by law, he only does them because he really cares about the safety of his staff. His need to show off to the cameras leads into the cringe comedy moment, when he stops the disabled member of staff from leaving early because he needs to be the one to do the ‘heroic’ thing in front of the camera and lead her to safety. Eventually, the punchline comes in her being too heavy for Brent and Gareth, and them leaving her to ‘die’ on the stairs. It’s a neat little comedic moment that doesn’t play too heavily into any story moments, but reinforces Brent’s character while providing a few solid laughs.

The US segment also plays on the documentary aspect, but it’s not as crucial to character as it is to plot. Sure, the fact that Dwight would do such a thing is a neat and fitting character moment, but this could be communicated without the use of a documentary framing device. Brent wouldn’t be doing what he was doing (bragging, then intercepting the disabled worker) if the camera wasn’t there. Dwight would always be doing this, and the only use of the documentary crew is that it allows the show to have him talk directly to camera and explain his action. This is just another example of how the documentary is more integrated into the UK version than the US version. The comedy here is also indicative of the differences between the two. Instead of the cringe realism of the UK Office, the humour is bombastic and much more slapstick. It certainly delivers a lot more laugh out loud moments in its timespan; the cat falling from the roof; Kevin running into people; Michael trying to smash the window with a chair. Even Stanley’s heart attack is timed like a perfect punchline. This, is clearly the show the US Office aspires to be; it wouldn’t feel out of place in a later Schur show in its comedic styles, and it plays to the show’s ensemble nature by having each character’s reaction to the “fire” be both hilarious and fitting. I think this segment showcases each show’s individual stylings at their best; the UK Office playing on what makes it unique, while the US Office crafts a segment that shows the comedic styles its creators would become best known for.

A Prank in Poor Taste

In the very first episode of the UK Office, Brent pretends to fire Dawn for ‘stealing… thieving’ post-it notes from Wrenham Hogg. The point of view character (the new temp in the office) has been informed that David is going to play a prank on Dawn, but the scale of the prank isn’t really told to us. It’s hard to see the comedy in this scene, especially when Dawn starts to cry… but it is there. It’s present in the patronising way Brent says ‘good girl’, the lame excuse he gives as to why he’s firing Dawn. But I think to see this scene as primarily comedic misses the point. This is an extremely important character introduction to David Brent, and while we’ll talk more about his character in the next section, this is really all the viewer needs. It’s the perfect introduction to his selfish behaviour, and the show treats it as seriously as it needs to. The UK Office is as concerned with realism as comedy, and so a prank like this can’t get brushed off.

The US Office repeats this scene nearly word for word in its first episode as well, but because it’s so similar it seems pointless to compare. Instead, we’ll look at a scene from Season 5 Episode 26 (near the end of the episode – couldn’t find this clip on youtube…), wherein Michael Scott once again pretends to fire Pam when he has to decide about whether he should let her or Ryan go. Here the difference in comic approach couldn’t be clearer, because the heightened reality that the US Office takes place in allows for the prank to pretty much go off without consequence. Pam doesn’t seem that upset at being fired, and Michael’s prank is treated as the silly but forgivable joke of a little boy; the scene ends in a happy resolution, with Michael laughing and Pam happy at eventually getting the job. There’s a really solid joke in there about Michael pretending to hire Ryan, and him being really unhappy about not actually getting the job, but it’s crucial that the show doesn’t show that moment, but instead the moment with the happier resolution. It’s a shift in worldview on two accounts; the first is that a cruel prank isn’t condemned as harshly because as long as the resolution is happy it seemingly doesn’t matter. The second is that the crueller moments are no longer shown, but left offscreen and used as a spoken punchline. By this point, the US Office has shifted into a more comic semi-reality that many feel-good sitcoms take place in, and so it no longer needs to deal with the heavy consequences of a joke someone like Brent or Scott would play. Speaking of…

Battle of the Bosses

“We had to make Michael Scott a slightly nicer guy, with a rosier outlook to life. He could still be childish, and insecure, and even a bore, but he couldn’t be too mean. The irony is of course that I think David Brent’s dark descension and eventual redemption made him all the more compelling. But I think that’s a lot more palatable in Britain for the reasons already stated. Brits almost expect doom and gloom so to start off that way but then have a happy ending is an unexpected joy. Network America has to give people a reason to like you not just a reason to watch you. In Britain we stop watching things like Big Brother when the villain is evicted. We don’t want to watch a bunch of idiots having a good time. We want them to be as miserable as us. America rewards up front, on-your-sleeve niceness. A perceived wicked streak is somewhat frowned upon.”

-Ricky Gervais

I think this is really the area where most of the differences between the two versions have been written about, and I think it’s here where I’ve really had the most difficulty. But I actually think Gervais is wrong when he says things like ‘Scott… couldn’t be too mean’, because as the above example shows, Scott is exactly as mean as Brent, but the audience is never meant to feel that. It’s not a shock to anyone that much of comedy is all about action/reaction, but it’s always worth emphasising how important that second part is. Because even with Scott doing something as cruel as fake firing one of his staff members, it’s the reaction that tells the audience how we’re meant to feel about this. In the UK Office, we’re clearly meant to see Brent as the unfunny, insecure man he is when Dawn starts crying and insulting him. In the US Office, we’re meant to see Scott as just a little bit out of the loop and oblivious, and Pam’s reactions tell us that. So I’m not sure if Scott actually is a ‘nicer guy’, or if the people around him and the show are just slightly more forgiving of his screw-ups. I also don’t think Scott is necessarily more liked by his co-workers than Brent is. Over the course of 7 seasons, it’s natural that there are more moments wherein Scott and his employees get along than in the UK Office’s 2 seasons. But it’s wrong to say that Brent’s staff are constantly annoyed with him – scenes like the Mhana Mhana song and the guitar recital spring to mind, but it’s clear that neither boss is always hated. It’s true, however that Brent never gets the emotional moments of character interactions like Scott gets (think: buying Pam’s paintings). So is Brent or Scott ‘nicer’? I think Scott still has the edge, but hopefully I’ve shown that it’s not as clear cut as it seems.


I think character development is also really important in assessing the two characters, and I think it’s actually here where Brent edges out Scott and becomes my choice for the better character. Both characters start from the exact same base point, if only because they use the exact same script for the first episode, and most of the same plots for the first season. And just as both start off as insecure, attention seeking idiots, they end up as much more tolerable people. I think Brent’s character development is problematic, however, as it’s poorly paced as all hell. Almost the entirety of it is consigned to the two-part Christmas special, and even there most of it is at the end. The Christmas Special devotes most of its energy to putting Brent through the ringer and making him suffer as much as possible before it can redeem him. This certainly makes sense; Brent is enough of an asshole that we need to see him suffer before he can be redeemed, and the only way for the audience to get on his side is by assuring us that he’s had his just desserts. But what this means is that it takes a long time for Brent to eventually get his redemption at the Christmas party; he’s finally allowed to relax with his date and, more importantly, he’s allowed to stand-up to Finchy. This segment is incredibly important and well constructed. His date hasn’t seen The Office, because it finally allows Brent to act himself and be relaxed in his own skin, no longer having to be the entertainer. We don’t see or hear his conversation with his date, and that’s quite important. Free from the documentary cameras, Brent’s body language relaxes and he seems to be engaging the person he’s with. And, having relaxed, he can finally stand up to Finchy, someone who he’s previously idolised, and even make his co-workers laugh. It’s not a full redemption – we don’t have people finally lauding Brent or him getting his job back. But it’s a start; a glimpse that a more compassionate man lies underneath Brent’s assholish exterior. The whole section is too short in the timeline of the series to be  fantastic character development, but it’s a sublime little moment within its own context.

There is, however, one advantage of Brent’s development consigned to the last episode; it means the show can never go back on it (unless you’re Life on the Road). Scott’s development is much more drawn out, and pretty inconsistent because of it. I think familiarity is often mistaken for character development in long sitcoms, but they really aren’t one and the same. Sure, over 9 seasons I get to know Jim Halpert really well, but that doesn’t mean he’s changed or developed as a character much. It’s easy to mistake our increased familiarity with Scott’s character flaws and motivations as development and character change. Our relationship with him has changed through exposure to more aspects of his life, but that doesn’t equate to him having changed. Now, it’s also important to say that character development isn’t necessary to make a good show (especially for comedies); none of the cast of It’s Always Sunny change too much over 12 seasons, but that doesn’t stop them from being a fantastic comedic cast. In fact, I still find the US Office’s characterisation of Scott incredibly well done. It’s always worth noting, though, that long running shows are so often too scared from changing their characters in any major ways (past ironing out the kinks of a first season or so, or the natural effects of flanderization). So, even if Michael manages to let go of his dream of making Threat Level Midnight before he leaves the show for good, in his final episodes he’s still making the same awful, corny semi-offensive jokes he always has. The difference is that his staff now laugh along with him. Again, I want to stress that I love Michael Scott as a character; I think he is one of the best things about the US Office – I think with the extra time they had they were able to fully explore this insecure and unloved buffoon and make him amazingly watchable and loveable. However, I don’t think the show ever managed the master stroke that the UK Office pulled in its finale.

Really though, the two characters become somewhat incomparable, because of one really important difference between the two shows; their length. I haven’t really talked about this before, because I don’t feel it’s been relevant until now, but the difference in the number of episodes really changed the approach of the two shows towards their respective leads. Scott was allowed time and heartwarming moments for the audience to warm to him, but it’s arguable that it wasn’t so much that he changed, as much as our relationship to him changed. Meanwhile, Brent is finally allowed redemption and a chance to change by the end of the series, but its short length means this is somewhat of a squished moment – it’s not quite given enough time to breathe. So both bosses are fantastically written characters that have an eventual redemption in the eyes of the audience, but the way in which this is handled changes because of the respective lengths of the shows.

Conclusion: The Office as a Love Story

Of course, the characters most affected by the change in length are the two lovers; Dawn and Tim in the UK version, and Jim and Pam in the US version. Here’s one section where I think the UK version trumps the US remake almost hands down. The thing is, much of what keeps the UK and US Office’s so amazingly watchable is the doomed romance between the salesman and the receptionist. In both versions their budding romance is handled brilliantly; the audience wants them to get together, and wants Pam/Dawn to dump Roy/Lee. In the UK Office, the second series ends on an all time low for all the characters involved; David Brent is fired, and Tim confesses his love, only to be turned down by Dawn. But in the Christmas Special, the two are finally allowed redemption; it feels earned, and a long time coming. A similar arc happens in the US Office; the two fall in and out of love with people we the audience know are wrong for them, but by the end of the 3rd season they are finally allowed to be together, and the two start to date. This is where the problem with the US Office’s love story starts; the show goes on too long for Jim and Pam to never get together, but without that romantic tension, the show definitely loses a dramatic edge. We see attempts to replicate this dynamic with Dwight and Angela, or Michael and Holly, but it’s not quite the same dynamic that worked so well before. FRIENDS knew this was pivotal, and while the Ross/Rachel dynamic is almost comedically long-winded, it’s a solution that works, allowing the show to continue for a long time without removing its most successful dynamic. Parks and Recreation is also so much more successful at sustaining this stuff because none of its characters were built with a will they/won’t they dynamic in mind, and so even when main cast members pair up, it doesn’t lose what made those characters so interesting and engaging.


I started this essay by attempting to make the point that the US Office isn’t as successful as the UK Office because it’s hindered by being a remake, and I think that this last point should hopefully help to restate that fact. This morning, I was asking myself why I wrote this piece at all. Because while I prefer the UK Office and hope that this essay shows why… I still love the US Office, and I don’t begrudge anyone who thinks it’s the superior version. So I don’t really have anything to prove here.  I guess I can use the same reasoning that I do with all my comedy reviews; that I hope to bring a greater critical appreciation of comedy television. But with this, I think there’s something else I wanted to show. It’s that judging these shows isn’t just a measure of your taste in comedy. I think there’s still valid arguments to be made about the success of these shows that isn’t entirely based around whether cringe comedy is something you find enjoyable. I think both shows deserve to be lauded, and that both can happily co-exist, but it’s worth showing how each show differs, and why I feel one is slightly more successful because it uses its own original idea, while the other has been stopped from reaching its true potential by its nature as a remake.

Review: The Final Season

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This review contains massive spoilers for the final season of Review, and all the proceeding seasons. I urge you to watch the show (it’s only 3 seasons) before reading any further. You won’t regret it.

Review isn’t, at its core, about reviewing things. Sure, that forms the basis for the life work of ‘life reviewer’ Forrest MacNeil, but it is his life and his actions that the show primarily concerns itself with. It is a character study of a deeply fucked up man and his undying allegiance to a TV show. That said, to say Review doesn’t have anything meaningful to say about the job of a critic would also be to miss something. I think the latter two reviews in Locorito, Pet Euthanasia, Dream prove as much. In Review, Forrest constantly interprets the reviews he’s given according to his own desires. He interprets the review ‘what’s it like to put a pet to sleep’ metaphorically, refusing AJ’s suggestion to sing a cat a lullaby and instead giving it its standard definition; killing a domesticated animal. However, in the very next review of ‘what’s it like to live your dream?’, as if unable to give himself a single happy review, he interprets it literally and reviews recreating a dream he has while asleep. Review recognises that critics bring something of themselves to reviews; us critics (and I realise I’m tooting my own horn calling myself a critic) always bring our own experiences and tastes to what we review. The show Review, for example, is perhaps my favourite tv show ever made, and as such I may ignore any flaws it may have (similarly, when playing games or watching films in a series or by a director whose work I enjoy, I tend to be more lenient). Similarly, our experience of something will be heavily influenced by the conditions in which we experience it. Review pumps both these factors up to 11; when interpreting the review, it seems to only be in a way that will bring him the most misfortune, and when giving the final score, his personal experience is king, with no regard for finding any universal meaning in his reviews. I hope, that in reviewing the final season of Review I can aim to find some justification for why I regard this show to be one of the greatest TV shows I have seen in my TV-watching experience (which, at least in regard to comedies, is embarrassingly large). If, however, this review descends into unadulterated gushing, you’ll just have to bear with me.

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I was initially planning this post as a sort of ‘Review retrospective’, covering all three seasons. However, the final season alone deserves special praise for the way it finishes up Forrest’s saga, and I feel that in talking about this season I can properly express why I love the whole show as much as I do. Let’s start by talking about the first episode of the season; Locorito, Pet Euthanasia, Dream. The first review here is not too much more than a funny premise, but it also introduces some important details. The first is, of course, that although Forrest thinks of himself as some sort of academic, he’s simply a TV host, and here he is, having been saved from the brink of death, having to do some good ol’ product placement. Of course, he can never call any of his reviews frivolous or unnecessary. He’s already destroyed his life enough for the show that to invalidate one suggestion would open too many troublesome trains of thought for Forrest. The second, more minor detail, is that the review comes from a 6 month old, now defunct fast food chain, foreshadowing the lack of reviews caused by the severe decrease in viewership. All three of the reviews in the first episode, it’s worth noting, serve to re-introduce the viewer to Review by rehashing some of the key ideas from earlier episodes. Locorito follows the ‘simple review becomes needlessly complicated’ model; reminiscent of something like ‘Rowboat’ from season 2. (There’s also the idea of Forrest getting involved in a court proceeding while in a Review, an idea visited in ‘Being Batman’ and ‘Helen Keller’.) Pet Euthanasia, meanwhile, has echoes of ‘Quitting your job’ – Forrest getting too attached to something in a Review, but tragic inevitability means that you know the horrible ending to come. I’m not sure Pet Euthanasia has the sting of ‘Quitting your job’, maybe because it’s only Forrest who’s hurt at the end of it all, or because he is spared having to kill Beyonce, the more obviously tragic outcome. The sly glimpse of Grant though, is perhaps important in reminding viewers what a slimy bastard he is. He knows before Forrest, or the viewer, does the outcome of putting the lizards together, and he revels in it. The final review in this episode is ‘Dream’, which is a ‘Forrest misinterprets the review’ skit à la ‘Sleeping with your teacher’ or ‘William Tell’. ‘Dream’ serves the express purpose of reintroducing the viewer to Forrest’s relationship with Suzanne, which will play a huge role in the finale. That Forrest rents Grant’s garage is another funny detail that again reasserts Grant’s antipathy to Forrest. The first episode, then, re-treads a lot of old ground; it is a reintroduction to Review, but one that becomes necessary when viewed in light of the finale.

The second episode, Co-host, Ass Slap, Helen Keller, Forgiveness, is much more vital in its job of setting up for the finale. ‘Co-Host’, of course, teaches Forrest how to use AJ’s tablet, but more importantly than that, it allows the viewer to see the importance of Review in Forrest’s life. I’ll quote here from Emily Stevens, who writes ‘Looking around A.J.’s cheerful, happy dressing room, Forrest remarks on what a small role the show plays in her life. From that, he doesn’t conclude that her life is enviably full, but that it’s empty and insignificant—because without Review propping him up, Forrest is empty and insignificant.’ (Source) Forrest is a man who has become absorbed by his work over the past 2 seasons of Review, and Susanne herself remarks on this in ‘Forgiveness’; she tells him he used to do things for fun, whereas now everything is for the show. In the finale, Forrest’s dependence on the show is what will allow Grant to manipulate him into the Veto, but this segment gives the viewer the information that we need to understand just how committed he is. He believes himself to be an intellectual, and seeing his vision destroyed by AJ is painful to him. His belief is so strong, it even allows him to be completely selfish, talking directly over AJ’s voiceover (ironically in which she learns much more than he does, despite not actually doing the review). In ‘Helen Keller’, we finally get the resolution of the murder trial, dismissed in the unexpected way consistent of the show. Still, the moment Forrest’s inept lawyer calls Helen to the stand is horrifically hilarious, in that classic Review fashion. ‘Forgiveness’, however, carries on the main theme of the episode; that of Forrest’s selfishness. He goes to Suzanne for the show, and the same can be said of Grant. He doesn’t do it for them, but for the show, which, as mentioned, has absorbed his life in a way as to be synonymous with Forrest. There’s another aspect to the show that is touched upon in this season, and this review; that Forrest calls Review and it’s mysterious selection process; ‘The hand of the universe’. His blind faith in the show and it’s absorption into his personality is one aspect of what makes him such a twisted human being, but this has given him a blind faith in its ‘powers’. Although not perhaps religious, Forrest worships the show, and it is this that has allowed it to so easily consume him. I don’t think the show is making a point about religion (Andy Daly himself has shot down the theory that it is a retelling of the Job story), but the parallels are certainly useful in helping understand the twisted mind of Forrest MacNeil.

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And so we come to the finale. Cryptically titled ‘Cryogenics, Lightning, Last Review’ (perhaps the only time in the series history wherein the name of a review is not mentioned in the title (unless you count the mini-reviews from ‘giving six stars’ (this interruption was pointless))), this might be one of my new favourite episodes. I don’t think anything can top the 1,2 punch of ‘Pancakes, Divorce, Pancakes’, but this certainly came close in terms of delivering a huge emotional gut punch. Forrest is likely spurred onto reviewing ‘Cryogenics’ by AJ saying ‘if I were you, I wouldn’t do it.’ Still desperate to regain his own perception of his work as important, Forrest now must do it, if only because AJ wouldn’t. This effect is sadly repeated after the revelations of ‘Cryogenics’ when AJ suggests a Veto to ‘Lightning’. The review of ‘Lightning’ is perhaps a bit poorly paced, but it only really needs to do two things. The first is the sight gag of Josh crushed under the lightning pole. The second is that Forrest does the review in the first place. The revelation he has in ‘Cryogenics’ is there, but AJ’s comments lead him to the wrong conclusion. While the answer is obvious to us that he should stop doing (at the very least) life-threatening reviews, he stretches the interpretation to allow him to continue with the show. It might be doubtful if Forrest believes that it really is the correct conclusion to draw; that it was putting himself in harm’s way that allowed him to get to one revelation, and doing it again will lead to another revelation. However, at this point it’s already too late. A long time ago Forrest dug in his heels to the show and now he cannot get out. He is trapped in a prison of his own making; a fervent belief that the show is ‘fate’ and will guide him correctly, and the absence of anything to fall back on (which can probably be traced back to his review of Divorce). And so Suzanne pulls out her trump card. She offers him an escape, which is to leave Review and come back to her. This is the natural end to Forrest’s story; a man who has lost everything because of his tragic flaw (in this case, the show), is allowed everything back. It’s a story of redemption. But I think two things prevent Forrest from being allowed back into Suzanne’s arms. The first is that along the way, Forrest has made enemies of a number of people, but none more so than his producer Grant. And Grant knows exactly how to push Forrest’s buttons. Grant is the one man who can tempt Forrest MacNeil back into Review, because, in a way, Grant has helped to create Forrest MacNeil, by helping pushing him ever further into the maw of Review right at the very beginning (remember that his first appearance was pushing Forrest to complete the review of Pancakes). But the more tragic reason Forrest cannot accept Suzanne’s review is because he’s already too far gone. Even without Grant, he would probably have reached the same conclusion, because by this point, Forrest MacNeil has risked everything for the project that he believes to be his intellectual life work, and he cannot let that go. And so he doesn’t. But, in the tragic twist of fate that is classic Review, the show betrays him. Were Review to simply be cancelled without the review of ‘What’s it like to be pranked?’ it would be tragic. I have no doubt that Forrest would kill himself as he threatens to do. But the writers of Review have it in for Forrest in the worst way, and so the show ends with probably the darkest ending of any TV show I’ve seen. The creator of the original Australian Review chimes in to ask Forrest ‘what’s it like to be pranked?’, and in such huge denial of the truth, Forrest is able to cling onto the only thing that gives his life meaning even though we, the viewer, knows that it’s gone. The ultimate dramatic irony. When Forrest realises that Review is, in fact, over, he may well kill himself. But to show us that is too much. Review is crueller than that, and leaves his awful fate to our imagination (it’s always worse when it’s implied). I guess the question every viewer has to answer is ‘Did Forrest deserve better?’. I can’t answer that for you, but I’m sure, as I do, you have your own answer for that. However, what is clear is that the Forrest at the start of Review did not deserve this. From the first episode onwards, we see the slow descent of a man from someone with a full life to someone with absolutely nothing. This descent is what is at the heart of Review.

I think the third season of Review manages to wrap up the show admirably. Each segment plays a part in contributing to the ending, which sends off Forrest MacNeil in one of the darkest ways possible. Hopefully in giving a bit of thought to why this season works, I have been able to put a small glimpse of an idea as to why I love the show so much. It’s a masterful tragicomedy. Both the comedic elements and the tragic core work off each other – both need to be excellent in order for the show to succeed, and, in my eyes, it works exceedingly well. Review is destined for cult classic status, but it should be recognised worldwide for the masterpiece that it is.

Review: The Good Place


It’s very rare that a sitcom actually manages to improve so considerably on a second viewing – that re-watching really makes that big a difference. But The Good Place is a rather unique show, and as such demands a re-watch, and for fans to really reconsider the groundworks the series is based on. It’s for that reason that I cannot suggest reading this review without first having completed series one of The Good Place, because the spoilers here will be much more impactful to watching the show than for any other sitcom I think I’ve ever seen.

I think that really speaks to the scale and uniqueness that Mike Schur is aiming for in this show. Previously known for workplace sitcoms like Brooklyn Nine-Nine and Parks and Recreation (both great in their own right), Schur hasn’t really ever created something akin to this before. Let’s be honest – the reason for this is business based; workplace sitcoms without much of an overarching story are perfect for syndication, while a show like The Good Place which ends each episode on a cliff hanger, really isn’t. I guess that it’s only because NBC has Superstore and is trying to revive Thursday night comedy that Schur was allowed to be so experimental with The Good Place (but that’s complete speculation on my part). The premise of The Good Place is immediately unusual; it revolves around a woman (Kirsten Bell) who has mistakenly been put in ‘the good place’ by a fumbling deity-like figure played by Ted Danson. Of course, this turns out not to be the case – the real premise is that a malignant deity (played by Ted Danson) has trapped four people inside their own personal hell, playing each of their personalities off of each other in order to create a place of eternal torture. I think to see how impressive The Good Place is, it’s important to examine how each premise works on its own.


The initial premise is the one that carries the series right up until the second half of the final episode on an initial watch, and so remains probably the most important in the minds of most casual viewers. The entire structure of the good place is immediately sketchy, however, and I did see people theorise that it might actually be the bad place from episode one. It’s important to note, however that the show does a good job of deflecting that theory, mainly by ignoring it and assuring constantly that not only is this the good place, but it must be because there is also a bad place (run by the amazing and always hilarious Adam Scott). All the problems with the good place are repeatedly asserted to be all Eleanor’s fault, which is a neat deflection, and one that creates an amusing premise within the fake premise. Speaking of Eleanor, both premises revolve around the four central characters (and Michael but more on him in a bit). These four are Eleanor (Kirsten Bell), Chidi (William Jackson Harper), Tahani (Jameela Jamil) and Jason (Manny Jacinto). Nicely, most of these are played by relative newcomers, and all of them play their parts well, with the exception of Jacinto, whose line delivery sometimes came across a bit forced. I also started off the series with a dislike for Tahini, but this is something that changed circa. Episode 3 or 4. These four are supposed to be ‘perfectly matched to torture each other’, yet this choice of characters somehow manages to work in the first premise as well. There’s great friendly chemistry between Bell and Jackson Harper but you can also see why they ‘torture’ each other, even if Chidi being a Kantian ethics professor facing a moral dilemma is a little bit on the nose. Once again, Tahani being so self-centred raises questions about the moral implications of the good place, but this is further stuffed under the carpet because the good place itself is so flimsily built for heaven. While we’re on the topic, the ethics of the good place are brilliantly specifically designed for comedy – and I urge everyone to screenshot any time some of the rules are bought up – there are gems a plenty. In fact, the entirety of the good place is funny – its plastic-y aesthetic really makes it a certain type of heaven; the one chock full of frozen yoghurt stands, to be precise. The initial premise, then, disguises it’s twist quite well, and a lot of that has to do with pacing – the series carries the audience from cliff-hanger to cliff-hanger, joke to joke at lightning speed, and we aren’t given much time to catch our breath and wonder about the problems of the good place.


So yes, initially the show works well. But the show feels like it’s missing something right until the very end. Parts (like the giant insects) feel inconsistent with the rest of the show, and the whole thing feels like it should be a little funnier, that the characters should all be getting on more, and joshing about in the expanse of heaven. When I heard about a show about heaven from Mike Schur, I didn’t expect it to be quite as tense and quite as mopey for some of its characters. Of course, these fears are put to rest at the final moments, and during the subsequent re-watch. You see, the show isn’t aiming to be a traditional network sitcom, it has loftier ambitions. And these ambitions are revealed at the end of episode 13 by Michael.  And I’m not quite sure if I mean Michael Schur or Michael the architect. Clearly the name was intentional though, both are the ultimate creators of the universe the characters exist in, and both create the set-ups that lead to the torture of the protagonists. I’d like to give a special shout-out to Ted Danson, whose performance here is the performance of a career, simultaneously creepy and whimsical. And of course, there’s that smile. The final twist of the show manages to cleverly put everything into its rightful place in a way that I didn’t quite realise up until I’d seen the show again. It strikes a slightly false note that this elaborate set-up was made solely for four unremarkable people, but accepting that leads to an otherwise pretty perfect twist; guessable from the start, but something you’d never even consider. Of course, more is likely to be revealed in season two, so I’ll stop talking about it here, but it really is a feat of the kind I haven’t really seen in a sitcom like this.

I don’t think that The Good Place is a perfect show, mind. It could do with being a bit funnier, and some of the performances are a little off. I also have neglected areas of character development here, and focused mainly on the big picture (maybe I’ll go more in detail when it comes to season two), and that’s a shame, because the character stuff is where much of this show lives and dies. But I wanted to focus mainly on why this show is so special, so ambitious as to be worth talking about and worth remembering for years to come. Because it so is.

Top 16 of 2016


This time of the year is when everyone and their mum comes up with their best things of the year, but you should listen to me because… um, I write it down I guess? In all seriousness, this year has been pretty good for entertainment, even if it hasn’t been so good for the rest of the world. This post will focus on the stuff that takes your mind off of it all though; Films, Video Games and TV. So without further adieu…

Best Films of the Year

Before I get into this; no, obviously I haven’t seen every good film this year. In fact, some films I’ve heard are great haven’t even come to the UK yet (see; La La Land). Also, the order is pretty arbitrary.

6) Popstar: Never Stop Never Stopping

Spinal Tap will never be topped as musical mockumentary, but this film comes pretty damn close. Much like the David Brent movie, the songs are one of the best things about this film, but even outside the Lonely Island’s usual musical comedy genius is a nifty little film that starts as a modern pop-star parody and ends in a glorious and over the top musical number starring the power of friendship and Michael Bolton. The film’s genius comes in hiding perhaps a rather standard plot in a guise of flashy songs and surreal humour, much as how it’s star Conner4Real masks a simple personality behind the veil of his superstardom. Perhaps the funniest gag in the film though is when Nas says of the song Karate Guy; ‘that song changed my life’, in the most deadpan tone he can manage when talking about a song who’s lyrics contain ‘We’re rolling with our friends, All over town, But we’re all in the car, We’re not rolling on the ground’. Brilliant.

5) Train to Busan


I don’t watch many zombie films, but that doesn’t mean I don’t know a good one when I see it. Train to Busan takes a simple premise (zombies, but on a train) and extends it to its natural conclusion. The zombies move around in a thrillingly creepy way, their bodies twisting in a way that makes them seem like they were filmed in stop motion. The train itself is a fantastic setting, and it makes sense that the film is reluctant to move far away from it; it condenses the action into tight corridors and spaces, and makes the horde of zombies piling over each other an ever more terrifying sight as there’s only one way to run. The traditional zombie movie clichés may all be present, but the setting helps make them feel fresh, as does the acting and cinematography. These things come together in a surprisingly effective little package that breathes a little bit more life into the genre. (I could have made a zombie joke there, but that would be dead stupid)

4) Hell or High Water


I don’t have much to say about this one to be really honest. A really solid film that harkens back to old Westerns while revolving around a modern day series of heists. Great performances from the main cast, and fantastic direction. Not necessarily the easiest film to watch, but well worth seeking out.

3) When Marnie was There


No, this might not end up being Ghibli’s final film, but if it was it wouldn’t be a tragedy. In fact, When Marnie was There ends up a touching mini masterpiece that shies away from grand narratives and focuses on a small town and a relationship between two people, one of whom’s existence is called into question by the viewer and the protagonist herself. Really, however, the crux of the film rests on the protagonist. Throughout the film we question her sanity and reliability but she remains a fascinating lens to which to see the beautifully animated world through. As a Ghibli swan song, this may be a whimper rather than a bang, but in this case, that isn’t a negative.

2) 10 Cloverfield Lane


You really shouldn’t know anything about this film before going in, but suffice to say while my expectations going in were low, this film blew me away. Sharing a similar dynamic to last year’s Ex Machina (three people alone in a remote location), 10 Cloverfield Lane feels more like an indie experiment than a sequel to a blockbuster monster movie, but it’s all the better for it. Claustrophobic direction courtesy of Dan Trachtenberg, combined with the masterful performance of John Goodman are what makes this film click as a tense psychological thriller. The ending has proved controversial but I rather liked it, and if you don’t, just forget it happened and enjoy the rest of one of the best films of the year.

1) Hunt for the Wilderpeople

I said the ratings for this were arbitrary, but for this entry they aren’t. Hunt for the Wilderpeople is my film of the year, hands down. The art of directing comedy seems to be lost on most mainstream comedy films, but a few directors still have the knack. One of these directors is Taika Waititi, and this is on full display here, even more so than in his last film What We Do In The Shadows. While that film had a premise that perhaps didn’t quite deserve the run time, Hunt for the Wilderpeople has both the heart and comedy to sustain a full film length. The humour is the gentle kind that Flight of the Conchords (another New Zealand comedy) mined brilliantly, and Hunt for the Wilderpeople has some lines that are up to par with that show’s comic genius (“You’re more like Sarah Connor. And in the first film, before she could do chin-ups.”). Julian Dennison, who plays Ricky, is a talented child actor of the kind any director would be lucky to find, and his chemistry with the gruff Sam Neill is pitch perfect. A real treat, and my unrivalled best film of the year.

Best Video Games of the Year

Another arbitrarily ranked list. Don’t expect any AAA titles on here, I didn’t play many of those this year. Instead, treat this as a list of quirky games you may have missed otherwise (but only if you own a 3DS)

N/A) The Last Guardian


I can’t give this a ranking yet, because I haven’t finished it and I plan to write a full and comprehensive review when I have. However, The Last Guardian has completely won me over. It’s a broken game in parts, with a messy camera and an unstable frame rate. However, I simply found myself not caring. The coup this game pulled off was to get me to care about Trico, the giant dog/bird monster who guides you through the game’s mysterious world, and it did this successfully through every means available; cutscene, gameplay, animations and scripted sequences. This one’s shaping up to be a true classic.

4) Pocket Card Jockey


Mobile games are a difficult thing to do well. They tend to be shallow little experiences, fun for a few minutes before becoming mind numbingly tedious. Pocket Card Jockey avoids this by taking the classic card game of solitaire, the ultimate boredom killer, and attaching it to fast fun horse racing with enough skill that winning feels like an achievement and enough luck that anyone can pick it up and play. Plus the game has a whole host of other little side options that make it feel well worth the price tag.

3) Rhythm Paradise Megamix


Strange surreal mini-games played to the beat off catchy J-pop tunes. This one contains all the mini games from past Rhythm Paradise games as well as a host of catchy new ones. It’s fun, it’s addictive, but its ultimately bogged down on an initial play-through by a needlessly inserted story. Luckily forcing your way through that opens up a treasure trove of mini treats. Enjoy!

2) Kirby: Planet Robobot


Occasionally, you have to celebrate a game for having not much more than really good level design. Kirby: Planet Robobot has that in abundance and I would have never even played it had it not been for a sale at a game shop I stumbled into. I’m not the biggest fan of the game’s steampunk aesthetic, but it solidifies it into a cohesive experience and links to the game’s new core mechanic. Unlike other gimmick Kirby power-ups, the Robobot armour isn’t used to solve obvious puzzles, but as a new way to traverse the level, sometimes even cutting off valuable collectables in exchange for a quicker path through. It has it’s own copy abilities, and it’s fun to control through the tightly designed corridor levels traditional to the Kirby series. Even the story is a step up from usual, a weird little muse on the ethics of colonialism. Well worth a play.

1) Phoenix Wright Ace Attorney: Spirit of Justice


You can read my spoilerific review here, but for those yet to play it: the best addition to a fantastic series since Trials and Tribulations back in 2004.

Best New TV shows of the Year

Comedy dominates this list because it’s what I’m a specialist in, but I’ve heard there were lots of good drama shows as well. I’m just not the guy for that. Also, this is just new stuff, so no second series here (sorry Crazy Ex Girlfriend, It’s Always Sunny, Brooklyn Nine Nine and many more).

4) The Good Place


Mike Schur is one of the most reliable names in comedy, so I had little doubt that The Good Place would be, well, good. What I didn’t expect was that this comedy would be so great even in its first season. Sure, there’s room for improvement but even as the series went on the quality of episodes kept increasing. Set in the afterlife, Kirsten Bell plays a woman who has been sent there mistakenly, while Ted Danson plays the afterlife’s oddball ‘architect’. Like Schur’s other comedies, the show rests on a balance between main and supporting cast both pulling their weight, and luckily they do. What’s different about The Good Place is that it feels less like a traditional sitcom – it’s much more structured and planned, each episode ending in a cliff hanger. For that reason, I’m excited for each new episode not just for the comedy, but also to see where the plot goes next.

3) Lady Dynamite

I already wrote about this one, and here’s what I said; With shows like Master of None; Love; Grace and Frankie; Bojack Horseman, as well as non-Netflix shows in a similar vein, this genre has become the new big thing. As a comedy fan and a Netflix user, I’m glad to see this uptick in odd comedies supported by a major streaming service. However, not all of these really hit the spot in what I’m looking for. Master of None probably came the closest (perhaps because of my innate Aziz Ansari bias), but I don’t know if it would have deserved a spot on this list. Then along came Lady Dynamite, created by Mitch Hurwitz of Arrested Development fame (another show you should really check out), and Maria Bamford, of strange stand-up semi-fame. Lady Dynamite edges out those other shows because its actually really funny, as well as building a convincing character portrait thorough a clever structural device of three timelines that chart Bamford’s fall into mental illness to her recovery. Lady Dynamite is extremely surreal, with buildings having names on them (Maria’s house has ‘Maria’s House’ written on it), and talking pugs, but this fits with Bamford’s often manic personality and surrealist humour. The show mainly focuses on Maria’s attempts to work her way into Hollywood fame, first by trying to capitalize on her eccentricities, then, after her breakdown, by trying to avoid this. In a way, the show itself provides an epilogue to the events that take place inside the show; in making Lady Dynamite, Bamford has manged to make the perfect show the fictionalized version of her dreams of creating. Thanks, Netflix.

2) Search Party


This one was a real surprise to me; I had no real idea about it until it aired, but I binged the entire show in two nights. This is an almost perfect package of a show, a fascinating psychological study of Dory (played brilliantly by Alia Shawkat), a woman struggling to find purpose in her dull life until she gets swept up in a missing persons case involving an old acquaintance from University. Some see this show as a critique of so-called millennials, others shun that interpretation. In my opinion this show acts more as a reflection on contemporary characters; it’s too loving towards some of its key players and too engaged in their culture to be a simple critique, but too damning of their efforts to be a celebration of it. Whatever it is, I’m sure everyone can agree that this is smart, funny television that can exist even without social context as it’s own thing.

1) The People vs OJ Simpson


Like many viewers of The People vs OJ Simpson, I was not alive to witness the original trial. However, the cultural memory has lingered in the imagination long enough for lines like ‘if the gloves don’t fit, you must acquit’ to exist apart from the original tragedy. FX’s show The People vs OJ Simpson brings back the trial to TV screens and is every bit as gripping as what I’ve heard of the original. The cast playing the roles are all superb, even David Schwimmer surprises as Rob Kardashian (more like Ross Kardashian), but Sarah Paulson is the undeniable best performance of the show as Marcia Clark. The show looks at the case from multiple angles, each as intriguing as the last, and slowly guides you into understanding how the shock verdict came to be. This one stands at the top of many a ‘year’s best’ list and for good reason. I wish I could write for longer about this one but I feel I’ve already gone on long enough. This is one of the best TV shows not only of this year, but that I’ve ever seen, and it deserves to be remembered as a faithful and telling depiction of tragedy and the role of law in public life.

So that was my top 16 of 2016. Obviously I’ve not seen everything, and if you disagree with any of my suggestions, or want to recommend me something to review, please say in the comments. Additionally, if you want to hear my full thoughts on any of these, drop a comment and I’ll try and write a longer review. Thanks, and here’s to a better 2017!