QUICK THOUGHTS: Saxondale, Series One

After watching an episode of television, I try to jot down a quick summary of my opinions, which may or may not be later expanded into a more formal review. Here are my thoughts on the first series of Steve Coogan's Saxondale.



S01E01 – actually good! (this is a very different character from what I've seen Coogan do before... but equally pathetic; I really like the lack of the laugh track, though Tommy's accent was a bit hard to follow at times; what a sad man, Tommy Saxondale! I am excited to see the next episode! I like the subdued tone, and the fact that his girlfriend is unattractive)

S01E02 – good! (I am excited to watch more of this show; it is a bit hard to tell, at times, whether Coogan is mocking muscle car aficionados or genuinely loves fast vehicles himself (especially with the lingering/caressing camera movements of the opening credits); I miss the old, shabby van!; Four letter word: "Fool?")

S01E03 – good! (I liked that the addition of someone from Tommy's past does not feel sudden or retconny at all, and just a natural extension of his persona and the little tidbits of history/personality he gives out)

S01E04 – okay-good (with Ben from AP guesting, Tommy Saxondale seems to have reverted into Alan's pattern of saying/assuming something foolish, and then having to stumble about in order to back it up in an attempt to not embarrass himself — felt in character for a dad and his daughter's boyfriend, yes, but also felt very AP; Tommy, though will often challenge people more than Alan, and has learned to take the high road, so with the whole bathroom/drugs/irritable bowel scene, Tommy could have admitted that he thought Matt was taking drugs, and then they could have either laughed about it, or Matt could have just been embarrassed — but they fell into the Ben/Alan relationship, where Ben always ends up on the high ground; the bit with Coogan as the junkie was just awkward and weird — if they keep doing this, with Coogan playing multiple parts, then maybe it will feel less strange, but all I can think about is when they used doubles and how much of a hassle that must have been to shoot, with little pay-off; and is Raymond still living with them? He didn't seem to be in any of the household scenes, as it wasn't... convenient?)

S01E05 – good (I liked the emphasis on Raymond's relationship with Tommy/Mags, which had been sorely lacking in the past few eps; also, how old is he supposed to be??; the "Tommy is feeling old thing" seems a bit abrupt, but at least, y'know, not random as he is in his 50s, but why is he suddenly unable to copulate, when he and Mags seemed to previously smash the system on a daily basis?; oh godddd and his little lip-licks are getting gross to a McCabe level)

S01E06 – good (this one was very plot-driven (Tommy solving the mystery of the big company's repeat flea-visits) which was very different from the other episodes, but kind of nice — it gave the viewer a satisfying conclusion to this mystery within the esoteric world of pest control, and it also let Tommy seem smart, for once (with both his deduction skills, and his intelligent allusions); this new "big enemy" of the other pest control place was a bit of a ret-con, though, and I'm sort of still waiting for there to be any semblance of a series-long arc or connection (which there has yet to be, a la AP), such as delving into why Tommy is currently in anger management — the inciting incident?; some good Raymond bits, like when he brushed off the crisp; and I'm pretty sure Rebecca Front did the voice on Radio 4)

S01E07 – hm (a bit overly sentimental, with the reiteration on the importance of the tin of potatoes, and with the manufactured fight between Tommy and Mags (who otherwise seemed to have a pretty solid relationship), and with all the waxing philosophical on giving life meaning by having impacting relationships with other people, and not dying alone — as though trying to give the series a meaningful conclusion, when this sentiment wasn't really prevalent throughout; there didn't seem to be an overriding sort of theme of fear of dying alone, or getting older, or anything; just sort of a pointless series, almost; Coogan can create the characters, but I really do think he needs someone else there to shape the show and give it some sort of overarching meaning beyond: here is this character, and he's like this, and here's the stuff that he does; his characters are inherently sort of sad, or depressing, in Tommy Saxondale's case, but that really isn't enough; oh! But David Cann as a boring dinner guest = yessss)


What did you guys think?

The Trip (2010) - Watch the TV Series Instead

The Trip, the television program, is a poignant, rambling, beautiful little series, starring comedians Steve Coogan and Rob Brydon as fictionalized versions of themselves. The Trip, the film, which I was able to catch at a packed SIFF screening, is an edited version of the television show. The six episode series clocks in at about 180 minutes, and the film, at 107 minutes, feels truncated and rushed comparatively. Both follow these hilarious gents as they review restaurants in the English countryside, but with those seventy-so minutes edited out, much of the nuance and poignancy is lost—the tone shifts from somber (but funny), to seemingly desperate for laughs. The film does often get those laughs (Coogan and Brydon, in their largely improvised conversations, are very humorous), but it fails to really make much impact beyond providing entertainment. The more melancholy scenes retained from the television series often feel tacked-on, and the transition between jokes and sentiment clunky, with quiet moments and breathing time largely cut out.

In the film and show, Steve Coogan expresses his desire to be acknowledged as more than just a comedic actor. He feels he could play more dramatic, serious, cinematic roles, but isn't offered those parts because of the success he's had doing goofy television comedy like Alan Partridge. "I don't want to do British TV," Coogan tells his agent when he's offered a guest spot as a Doctor Who baddy. "I want to be in films." Ironically, The Trip, the series, showcases one of Coogan's best dramatic performances to date—he's funny and real and heartbreaking, and all while on British television. The film, however, with its more frenetic pace, sacrificial cuts, and focus on jokes, seems to reinforce the impression Coogan is trying to escape—that he should just stick with broad comedy, and that subtlety is not really his thing. Coogan's BAFTA for his work on the show is well deserved, if inaccurately categorized as a "comedic" performance, but any accolades for the movie, beyond "best Michael Cain impersonation," would be unmerited due to the unfortunate editing choices.

Sadly, US audiences will unlikely be given a chance to legally view the series before a Region 1 DVD is released (if ever), and many of those familiar with Coogan or Brydon's work will no doubt go to see the film (it's been picked up by IFC), thus further separating Coogan from the dramatic recognition he rightfully deserves. Audiences looking for droll popcorn fare will not be disappointed, but those wanting to be genuinely moved should skip the flick and instead seek out the superlative television series, using whatever means they can.


The Trip was directed by Michael Winterbottom and written by Coogan and Brydon; the series was edited by Mags Arnold and Paul Monaghan (the film has no credited editor on IMDB); Claire Keelan (Nathan Barley) also stars.

ERTCSJDHT: A Catty Conclusion

I think I am going to stop posting Erin Reads the Comics So Josh Doesn't Have To here, and leave that for my single-purpose tumblog:

http://erinreadsthecomics.tumblr.com/

People can't really post comments, because tumblr is a blog site intended for the verbally challenged, but the layout for pictures is nice on there, and I got tired of manually resizing each scan and uploading a small- and large-resolution of each to photobucket. Laziness wins again, I guess.

Also, on tumblr I tag each comic with its newspaper strip progenitors, so at least credit is being given, in case some daily cartoon has an especial aesthetic appeal, and you just need to know what it's called and who drew it so that you can go and read all the archives and make your favourite panel your desktop background. Because there's nothing so wondrous to observe like the artistry in the funny pages.


10 December 2010:













(Case in point.)

ERTCSJDHT: The Imbrication of the Twain (A Series of Couplets)

31 December 2010:

ERTCSJDHT: Cooking with Cuss Words

I've started cross-posting these here.

2 December 2011:

THE LITTLE THINGS: Veronica Mars, S01E17

Clearly, I have of late been going through a bit of a mini-Veronica Mars phase. Also quite certainly, VM's slipshod prop department had some decorations left over from that conch-centric episode they did a while back.

Or maybe somebody just really likes Freddi Fish.

THE LITTLE THINGS: Veronica Mars, S01E10

The set dressing on VM has always been a bit awkward (though there have been recurring posters for a play mentioned in an earlier episode), but come on, guys. Even in Neptune, California, I'm pretty sure high school kids don't brand boast to the point of adorning their lockers with straight-up trademark placement.

THE LITTLE THINGS: Veronica Mars, S01E14

Rewatched this episode for the adorableness that is a young Adam Scott:



...but even his dashing good facial features and acting prowess could not quite hold their own next to the Veronica Mars costuming department:





Seriously. Even I do not have a sweater that could top that. Almost even tops the Roseanne chicken shirt. Almost.

ERTCSJDHT: Unexpected Holiday Subtext

My mother's house has no wireless internet, but it does have the Sunday comics! Which are in color! Julian Barratt-type karate-chop sound-effect!

19 December 2010:

like a webcomic, but terribly depressing (and terribly true)

Winter break at my mother's house comes with the added bonus of exciting new things like no wireless internet, which, coupled with my oft-mentioned laziness and her lack of any photo editing programs, equates to messy handwriting captioning my woebegone webcomics.

Yay!



BECAUSE I HAVE NO SENSE OF SMELL.

Se on hauska vitsi, kyllä?

THINGS THAT ARE MY LIFE: People Talking on the Phone

How do you know it is finals week?

Well, besides life repeatedly punching you in the face, there's always finding yourself, at four in the morning, looking at my new-favorite bloggue: People Talking on the Phone.

It's exactly what it sounds like:





Precisely why is this so appealing? Does it speak to some unconscious desire, some repressed telephonic fetish, some dial-tone longing? Really, I think People Talking on the Phone, in showing us images of only one end of these telephone communications, calls up that uncomfortable truth that we can only ever really know our own one side of a conversation; that in every connection we make, we are still truly alone.

Also most of the pictures coming from Twin Peaks doesn't hurt. And there's the fact that it's four in the morning.


PTOTP's author Allison Maplesden also has another blog, in which she posts ink paintings of female celebrities, based on images from gossip magazines. If you liked the phones, then you might like this.

ERTCSJDHT: Story of My Life (& Then Some)

3 December 2010:

(My scanner was weirdly bad at being a good scanner today.)







Contenders for my laughs and place as Cathy's successor: Get Fuzzy and Mutts, respectively.

(Why is the comics page of two weeks ago mirroring my internal sentiments? What is this, some kind of Denzel Washington time-travel movie?)

like a webcomic, but with added emphasis on the part that makes you cry yourself to sleep at night

#2's my dashing good looks and #1's my stunning personality.

THE LITTLE THINGS: Election (Alexander Payne, 1999)

Election is one of those movies that I watched when I was about fifteen and knew was good, but did not quite appreciate its brilliance.

But it totally is - it's smart, it's funny, and it's about a high school student government election. As jaded as I've always been (I mean, I watched Daria in elementary school), I don't think a person can truly appreciate the absurdity of high school until they've left its hallowed halls. And goddamn man, people really do care about this pointless teenage academic bullshit, and Alexander Payne and co-writer Jim Taylor got that ridiculous kind of concern down.

Also there's some funny little things:



I hope that graffiti was just there. And that they chose that stall specifically because of it.



This is unrelated to the above screencap, but Tracy Flick's mom is Mrs. Vanderhoff from Wayne's World - "I just opened my mouth and out it came." I like to ponder the possibility of those two characters being one, and how that would influence Tracy's upbringing.



For those too lazy to google, Citizen Ruth is another Payne/Taylor film, about abortion or something, starring the lady paleontologist from Jurassic Park. Not entirely certain I would take the effort to go out and actually rent a movie concerning Dr. Ellie Sattler's right to choose, but I might torrent it.


Also, in addition to having directed/co-written Sideways, Alexander Payne is an executive producer for the show Hung - the guy's really got a thing for lonely high school teachers.