Category Archives: TV

New Year’s adventures in Germany – Flughafen München-Bad Bergzabern-Straubing-Flughafen München.

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Autobahn.

I’ve not been in a car this much ever, Munich Airport to Bad Bergzabern to Straubing to Munich Airport, a goodbye to the 2010s in a most chilly and mostly plastered Deutschland, with a soundtrack of the decade’s tackiest pop hits.

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Bad Bergzabern in the state of Rhineland-Palatinate took in the delights of this wooden bad boy, which I presume was an observation tower to view troop movements as its vistas overlook the border with France. I climbed up the fucker and left a wee mention at the top, carving ‘Nuuuuu’ into the floor with a pocket knife. I am very proud of that. One day some random will scratch their head at the … ‘word’ and then hit Google. A lovely wee town, it even had a heaving club which was visited just after midnight, where locals sparked up inside. Flashbacks kicked in to a pre-2006 Edinburgh when you could smoke a cigar and not get chased off the premises by their interior ministry.

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Midnight fireworks.

Straubing – not a lot happened in Straubing. I did my usual morning run/descent into death followed by a supermarket jaunt, and rounded off proceedings by watching Dragons’ Den clips for three hours off a tablet, contemplating the decade ahead and hoping that one day folk in airports will just fucking learn how to distinguish between the arrivals and departures screens (this also applies to the denizens of train stations).

Other delicacies included the outrageous wearing of Crocs and the sighting of that ‘big pile of shit’ from Jurassic Park (1993).

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All in all, quite the splendid wee trip. A civilised affair (for once).

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Cobra Kai is rather AWESOME.

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Nostalgia kicked in mega-heavy with this absolutely mental show; fuck knows how it even came into being. I have seen The Karate Kid (1984) 19 times and this somehow beats it. Through the complexity of the characters (they actually have three dimensions), the subtle middle fingers (plural) to the WOKE/SJW political correctness of this age, and the sheer hilarity of some of the scenes, it’s the best show for quite some time.

I always thought Johnny Lawrence got a bad rep; 35 years later he gets the treatment he deserves.

First episode here. It’s a corker:

Further reading/viewing:

https://www.indiewire.com/2019/04/cobra-kai-review-season-2-youtube-premium-1202127560/

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Mindhunter is a must-see.

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Mindhunter is cracking. Set within the Behavioral Science Unit at Quantico when criminal psychology was in its infancy, the show’s FBI special agents interview the whole gamut of notorious serial killers in order to glean patterns of behaviour, applying this to ongoing cases. It’s got David Fincher all over it, the chap serving as executive producer and helming seven episodes.

It’s gripping stuff, as a time capsule and insight into a grisly world very few of us will thankfully ever even glimpse. Netflix addiction strikes again, though in my case generously bequeathed episodes from a questionable benefactor. I can’t help but picture the British spin-off were this to happen. In the show they remove the chains of the convicted mass murderers in order to make them feel more comfortable during questioning, to even help generate a bond for the ‘interrogation’. Imagine Scotland Yard doing that to Charles Bronson (not that he’s killed anyone).

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I also have a picture in my head of Lord Longford, absolute weirdo that he was, helping Myra Hindley escape through a window during their interview, the former wielding bolt cutters or a blowtorch, zany hair flying everywhere.

Interestingly (for me), I clocked the actor who plays Bill Tench straight away. Holt McCallany wound up in two of the best movies of the late ’90s in Three Kings (1999) and Fight Club (1999). He even initiated the whole ‘His name is Robert Paulson’ recital. I hadn’t seen him in anything else until this.

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Game of Thrones. Goodbye, my love.

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Eight years of Westeros drama, 2011-2019, with a godawful two-year hiatus between the 7th and final season. To accidentally appropriate a catchy verse in a recent Justin Bieber song, it’s been a hell of a ride (driving the edge of a knife).

Thrones was two-in-one TV, shades of history with splatters of fantasy, brutal realism and realpolitik – one got the sense of the intrigue at the court of Klemens von Metternich or Bismarck editing telegrams – with magic and dragons. And all if this topped off with booze, tits, and your occasional rape. Peak Thrones has to be season 4, for the superlative writing, the intricate balancing act between the intimate and the epic, Tyrion’s ‘fuck you all’ trial, and the sheer number of what-the-fuck-just-happened moments. It was literally astonishing.

Things went a bit downhill from season 6 on. It was evident the writers, having gone beyond the Martin books, had run out of ideas and sadly resigned the show to that of ‘experience’ – spectacle, hordes of extras, battle after battle. Which is fine, but the verbal sparring and power plays such as those between Varys and Littlefinger were sorely missed, so too was any sense of remaining mystery about the familiar ensemble – all their cards were on the table. It frankly became a bit silly. Not to bother, it’s partly because the bar was set so high for so long that the later episodes in the saga felt lazy despite being the most watchable bits of drama on TV.

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Summary thoughts:

  • What the hell was Petyr Baelish’s accent all about? It fluctuated from one region of the British Isles to the next depending on how devious he was feeling.

 

  • Tyrion got boring by the end. He forgot he had witty things to say, and it didn’t help that it was no longer a case of dwarf vs. everyone.

 

  • Ramsay Bolton was Joffrey on steroids.

 

  • Stannis Baratheon reminded me of almost every supervisor/manager I’ve had, displaying a facade of nobility, but will without compunction burn their own kin for a pay rise.

And every time I eat chicken I think of The Hound and Arya tearing around the countryside, psychos in arms. Those two were meant to be.

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James Bond is ruined.

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The Jason Bourne films coupled with a mighty dose of political correctness defeated the James Bond films. The rot began at the beginning of the noughties with the near-simultaneous release of The Bourne Identity (2002) and Die Another Day (2002). The former was an ascetic, bare-boned spy thriller sans gadgets and one-liners; the last Pierce Brosnan outing was a Roger Moore movie on steroids. And with an invisible car.

Die Another Day, a 40-year anniversary Bond replete with references to previous episodes in the franchise, riled the critics to no end; even today it’s deemed the ‘Worst Bond ever’ etc. The thing is, it’s not that bad. Bond has always been ludicrous, and that’s the appeal. Roger Moore knew this so played to the gallery. He’s impossible to kill and every shady fucker knows who he is the minute he checks into a hotel.

The custodians of Bond looked at this new gritty Bourne phenomenon and had a lightbulb moment. They did away with the special effects and made Bond a well-dressed Matt Damon – humourless, dour, and more boring than Matt Damon, who incidentally isn’t boring. The whole point of Bond is that he’s meant to be impervious to change, an anachronism spanning developments in the cultural landscape. These days he drinks Heineken, is the subject of psychoanalysis sessions at MI6, and proclaims he doesn’t give a damn if his voddy martini is shaken or stirred. And apparently Generation Snowflake think it would be more inviting if Bond were a woman.

I’d also like to add that Skyfall (2012) is an absolute howler of a movie. It’s as exciting as unblocking a toilet. To top this off the third act descends into a minimalist Home Alone (1990) set in the Scottish Highlands. Bond is fucked. Bring back the gadgets.

 

Further reading/viewing:

https://www.vice.com/en_us/article/43qp4d/daniel-craig-james-bond-boring

https://www.rollingstone.com/movies/movie-news/spectre-how-the-multiverse-era-killed-james-bond-65346/

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Robin van Persie and the last great Manchester United moment.

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It’s 22 April 2013, and Man United run away with the league by some margin (11 points), Sir Alex Ferguson’s final squad easily his weakest ever to dominate the 38 matches of England’s top tier. It was the meekness of the competition at the time, coupled with a peak van Persie, what done it. Captured from Arsenal in the summer, here was a flying Dutchman – and formerly a ‘sick note’ – hell-bent on a first Premier League title after a near-decade spent languishing with post-Invincibles Arsenal.

Not many saw Sir Alex Ferguson’s retirement coming that year, but the omens were there in Groundhog Day gloom in the Champions League. In retrospect it’s as if he knew the outfit couldn’t get any further in Europe, that it was time to release himself from continental heartbreak.

That volley, though. In this simply majestic goal the best of the Fergie years are encapsulated – the pure aesthetic qualities of football, the possibilities beyond 4-4-2 Anglo-Saxon ‘hoofball’. Moyes, van Gaal, and the snores of Mourinho, the Red Devils haven’t had a moment like that volley since. Bring back Fergie.

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Lost got … lost.

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Remember a TV show called Lost? It was semi-gnarly for the first eight or something episodes. And then it was like … total shite, and of course meaningless. I never saw a narrative so pointlessly meandering, and I’ve sat through Fellini’s (1963).

By the second season I wish the plane that crash-landed in the pilot episode would have blown into smithereens. Utter pish. I still to this day don’t know how it ended.

The thing jumped the shark and all that.

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