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Published by Mason Oldridge, 28 March 2023 Despite having been originally commissioned as a miniseries based on the Israeli original, the Showtime legal drama starring Bryan Cranston is back to tie up loose ends. Following the Season 1 finale in which an avenge-seeking Eugene attempts to shoot Carlo but misses and kills Adam instead, we see a grieving and dishevelled Michael in prison. We learn he confessed all following Adam’s death but his confession is buried by attorney Olivia in return for Michael’s assistance in bringing down the Baxter family. A second season was somewhat unnecessary, though it was satisfactory to see what happened next following the previous season’s events. This season ultimately outperformed the first with more compelling viewing, although it may have just seemed that way as we returned to already established characters. The season finale played out the intense courtroom action as Eugene was tried for murder. The standout moment was when Michael helps prove that the explosion at Eugene’s house couldn’t have been a gas leak as they hadn’t had gas for weeks, potentially implicating the Baxters. With Jimmy threatening to reveal Gina’s involvement, Gina manipulates Cormine into shooting him and is imprisoned. This long-awaited downfall of the Baxters arrives as Eugene is released into Witness Protection. Unfortunately, not everyone gets their deserved comeuppance or redemption. Carlo is never found guilty for Kofi’s murder and continues to run the family business with Gina, who also goes unpunished. Furthermore, the malicious ringleader of the Desire gang Big Mo continues to have free reign across the city. Fia, heartbroken at the deceit from both sides, puts baby Rocco up for adoption and leaves, an unrealistic fate given the love and care she had for him. This also means Michael, who has arguably suffered and lost the most, doesn’t get a happy ending with his grandchild. Instead, he returns to prison for his actions, albeit content with his fate. The fact that the series ends with Michael in prison and Carlo free highlights a vast imbalance, perhaps an intentional reflection on the real justice system, but the drama across the season plus the gas leak revelation and Jimmy’s shooting in the finale elevates the season greatly. 7/10

Published by Mason Oldridge, 15 March 2023 The psychological thriller moves across the pond for the fourth season set in dreary London. Joe Goldberg begins life anew as Jonathan Moore, a university professor in the English capital after faking his own death. Despite embarking on a quiet life, he is soon roped into the social circle of his rich socialite neighbours as he becomes the target of threatening messages from the “Eat the Rich killer”. Unfortunately, most of the new characters are uncompelling which, matched with the dark setting, gives the season a less appealing tone. Part 1 focuses on him finding out who the killer is and, although intriguing as the killer knows Joe’s real identity, the role reversal in which Joe becomes the victim is somewhat disappointing as it is just not as thrilling. The mid-season finale reveals the killer is Rhys Montrose, the aspiring Mayor of London, in an explosive and exciting episode. The season doesn’t appear due to become anymore interesting as Part 2 is then set up for Joe to bring down Montrose. But then, Episode 7 comes. As Joe kills Rhys, we learn that Joe had never actually met Rhys, he just became obsessed with him when he learnt of his redemption, Joe killed all the victims and Rhys was just a figment of his imagination. Furthermore, Joe didn’t actually let Marienne go but he has had her locked in his infamous perspex cage the whole time with no recollection. This twist is the best in the series and ultimately saves the entire season. The season finale is action packed, particularly with the twist that Marienne survives. The ending appears anticlimactic with Joe and new girlfriend Kate starting a new life in New York having cleared Joe’s name, until the final moments when it is revealed he killed his student Nadia’s boyfriend and framed her for it after she discovered his past. Overall, the season may not be as consistently thrilling as the previous but the twists are the strongest yet, keeping the show strong and unpredictable. 7/10

Published by Mason Oldridge, 8 March 2023 The Pogues’ treasure-hunting moves in a whole new direction as we return to OBX and beyond. Season 3 begins where the Season 2 finale left off, with the Pogues stranded on a deserted island: the self-proclaimed Poguelandia. Unfortunately, this is one of few moments we get this season of our favourite gang altogether due to the revelation that Big John is still alive. Where this provided a shocking twist to close the second season, it damaged the content of Season 3. Big John’s return sees John B abandons his friends to go treasure hunting with his newly-returned dad, causes a rift between him and Sarah, driving her into the arms of Topper and sees Big John put the treasure before his son, taking the lead on a project that should really be led by Pope. Furthermore, John B learns his father is not the hero he thought he was and his return devalues the previous exploration done in his memory. However, this means Big John got to see the completion of his life’s work before his death, dying of a gunshot wound. The compelling villains of Rafe and Ward Cameron are back too. Lying low in their new life in Guadalupe, Ward attempts to make amends, starting by donating the Cross of Santo Domingo. Conflict arises between the father and son as Rafe steals and sells the cross from under him and Ward denies his intention to run the family business back home. They reconcile before Ward tags along on the hunt to protect Sarah, eventually sacrificing himself for her safety in an emotionally-charged scene for which Charles Eston deserves great praise for his performance. The danger levels rise this season when a new villain is introduced: Carlos Singh. The Pogues’ rescue from Poguelandia is actually a kidnapping as Kiara is taken hostage and we learn Singh is searching for El Dorado. This all culminates in an epic season finale which takes John B, Sarah and Big John deep into the South American jungle on a perilous quest, leading to them finding the gold city. There are several gunpoint moments too in an episode which is truly cinematic. The season ends with a time jump to 18 months later as the Pogues are officially recognised for their discovery. It may be nice to see the gang finally succeed though this means we never got to see Pope finally retrieve Denmark’s treasure back from the Camerons after they came so close back on the boat. The season closes with a man approaching them to help locate Blackbeard’s treasure, hinting at the plotline for the already commissioned fourth season. 7/10

Published by Mason Oldridge, 30 January 2023 The complex mother-daughter relationship takes a darker turn in the second season of the Netflix drama. Following on from the Season 1 finale in which Ginny discovered her mother poisoned Kenny, she and Austin are living with Zion. Consequently, this takes a toll on Ginny’s mental health too as she continues to self-harm and suffers a panic attack. There’s a glimpse of hope as she enters therapy but upon forgiving her mother after learning it was to protect her, her stress turns to guilt as she feels responsible. Ginny is noticeably far more distressed in this season and, along with the deeper exploration into Marcus’ depression and the couple’s subsequent breakup, the tone shift creates a much darker atmosphere, which could go unappreciated due to some difficult to watch scenes. However, the coming-of-age element with the teens continues to provide some much needed comic relief. Despite taking several episodes for MANG to make up, there are many enjoyable scenes, particularly revolving around the Wellington play in which Max and Silver grow close, as do the leads Bracia and Bryon. There are also touching scenes as Max’s father builds her confidence regarding her role as the witch and Max supports a struggling Marcus. The race subplot feels somewhat shoehorned as it is kept minimal and driven by insensitivity rather than outright racism and Ginny’s impulsive rebellion seems an inequivalent response. The show delicately handles its subject matter on mental health, leaving the race element appearing to be an unnecessary additional burden on Ginny in an attempt for the show to earn more brownie points for being woke. Nevertheless, the season steps up in terms of drama; Austin shoots Gil to save Georgia and, in the finale, at her wedding to Paul, Georgia is arrested for the murder of Cynthia’s husband. Ultimately, the season fully delivers on a thrilling and suspenseful continuation of the overarching story. 7/10

Published by Mason Oldridge, 12 January 2023 Business and romance continue to outline Emily’s life in Paris as the third season is released on Netflix over the festive period. Season 3 picks up where the previous left off with Emily torn between continuing to work for Madeline or jumping ship to Sylvie’s new company following the French team’s revolt against the acquisition. The dilemma is finally resolved when Emily joins them permanently and the chemistry between the marketing colleagues continues to create an enjoyable to watch environment. Furthermore, Luc continues to provide a hilarious comedy aspect to the series. However, Emily begins imposing on Julien’s pitches, resulting in him considering a job offer. Having learnt in the Season 2 finale that Gabriel and Camille are back together and now living together, Emily commits to her relationship with Alfie, proving her dedication by publicly serenading him on Solstice Night in a truly tear-jerkingly sweet moment. Remaining friends, Emily and Gabrielle continue to hide their true feelings towards one another as the audience awaits to see what inevitably rocks this settled dynamic. Emily discovers Camille is having an affair with a Greek artist and encourages her to tell Gabriel. Where Camille appears remorseful for cheating, this can actually be seen as her realisation and acknowledgement of Emily and Gabrielle being in love and refuses to go through with their wedding for the latter reason. Alfie breaks up with Emily due to this and Emily and Gabrielle confess their feelings. As the duo appear free to pursue each other, a further spanner is thrown in the works as Gabriel announces Camille is pregnant. Mindy’s residency at the club also provides a beautiful scene when she duets with Benoir performing a bilingual version of Shallow, further highlighting Park’s incredible talent. Unfortunately they split up and Mindy begins a relationship with businessman Nicholas, whose nasty side is revealed as Grateau publicly humiliates him in a business strategy. However, there is still hope for the musical couple as Benoit announces their song Mon Soleil has been selected for Eurovision. Furthermore, the dark history between Sylvie and Nicholas’s father could be explored as he is revealed to be Laurent’s final investor. Overall, the show continues to be visually stunning, showcasing Paris’ breathtaking aesthetic, navigates the further meanders of Emily and Gabrielle’s mutual interest and provides several romantic moments in what could be one of fiction’s best universes. 10/10

Published by Mason Oldridge, 16 December 2022 The new supernatural series based on The Addams Family’s teenage daughter Wednesday lands on Netflix, even beating the new Harry & Meghan documentary to the number one spot. From the enticing first scene in which Wednesday exacts revenge on her brother’s bullies by attacking them with piranhas, viewers will be reeled in. The series then follows Wednesday as she enrols at a new boarding school for outcasts: Nevermore. Throughout her reluctant time there, she attempts to solve a murder mystery surrounding a monster in the woods. The murder mystery plot is told in an entertaining way as the investigation is intriguing throughout without fully relying on the outcome. However, it can be said it is the characters that make the show so compelling. Ortega earns her high praise for the protagonist as she perfectly portrays the cold and hardened yet strong-willed and brave teen while exhibiting some unexplainable likability that ropes both the male cast and viewers in. She is also at the helm of some of the series’ most awesome scenes including the burning of Crackstone’s statue and her impressive dance routine. The inclusive environment at the academy is composed by several other likeable students, particularly Wednesday’s optimistic roommate Enid and friendly beekeeper Eugene. The student cast allows for some meaningful coming-of-age elements as Wednesday grows to care about her classmates, Enid pursues a relationship with Ajax while dealing with conflict with her mother and Xavier develops feelings for Wednesday despite rejection and accusation. Additionally, Wednesday finally hugging Enid in the finale will melt your heart! The ending elevates the quality of what is already an excellent series. After falsely accusing Xavier and Dr Kinbott, Wednesday is horrified to learn her romantic interest Tyler is the Hyde and Thornhill is the master. It is revealed that Thornhill is actually Lauren Gates, seeking revenge for her fathers death and is using Tyler to murder outcasts. Principle Weems uses her shapeshifting skills to retrieve this confession, though is murdered by Thornhill using nightshade poisoning. This is followed by an epic showdown in which Thornhill resurrects Crackstone, culminating in a deadly battle between the town’s founder and the outcasts which sees Wednesday fulfil the prophecy of her saving the school. Furthermore, in an exciting and satisfying shock, Enid finally wolfs out and, in werewolf form, defeats Tyler. Everything about this series is perfect. The plot. The characters. The casting. A finale that outshines any possible conclusion viewers could have predicted. It is a shame Weems dies but all good shows have one unfortunate loss. As Wednesday hints at more mysteries to uncover and Tyler is shown to still be alive, viewers are left impatient for a second season. 10/10

Published by Mason Oldridge, 14 December 2022 The long-awaited feature-length finale of the hit sitcom finally arrives as one of many debuts on the launch day of ITV’s supersized new streaming service ITVX. As we head back to Ancient Rome one last time, we see Marcus, Jason and Grumio sign up for the army during peacetime after they are evicted. However, their plan backfires, the hilarious centrepiece that makes every episode work, as war breaks out and they are sent to the frontline. With Aurelius in tow as well, the special starts off promising. Concern over whether the extended length will benefit or hinder the entertainment value is soon lost as the boys ditch the army following a deadly ambush and are hunted as deserters. Furthermore, as the plot develops, viewers are likely to be only more drawn into the story rather than become disconnected with it. While the comedy is there and like the show had never been away, there aren't quite as many hilarious scenarios and lines as a typical episode. Despite this, the plot is enhanced and deeper in meaning, with Marcus and Grumio’s rocky relationship mended with some honest and kind words followed by Marcus freeing Grumio from slavery. The majority of the episode was filmed in the Welsh countryside and so the Ancient Rome set in Bulgaria is missed as it only features in the opening and ending scenes. Despite this, the finale couldn’t have wrapped up the series any better, solidifying Plebs’ status as one of the best British comedies of all time. 8/10

Published by Mason Oldridge, 6 December 2022 Dead to Me wraps up its twisting narrative in the third and final season of Netflix’s tragicomedy. Season 3 picks up where the second season ended, with Ben having crashed into Jen and Judy in a drink-driving accident. The hit-and-run brings the story full circle as each character has now hurt one another in some way. The series' trademark twists and turns are in full swing as well, as Judy is diagnosed with terminal cancer and Jen is pregnant with Ben. The season then follows the investigation into Steve’s death following the discovery of his body as the ladies deal with their new situations. While new cans of worms may have been opened, the season did a pretty good job at closing them too. However, there were a couple of controversial decisions made in bringing closure to the narrative. In the penultimate episode, Agent Moranis is found dead as the camera switches between the multiple suspects. This can be justified in that the cause of death is less important than the effect of death, as Jen and Judy can be exonerated for Steve’s murder as the Greek Mafia are blamed. Furthermore, on their holiday to Mexico, Judy tells Jen she isn’t returning home. While it was wise to take the more realistic approach of Judy dying, we see Jen and family mourn the death of Judy without confirming she has died yet, making the scenes less authentic and also suggesting Judy was left to die alone rather than with support. The finale closes with the bittersweet ending of Ben playing with the boys in the pool as Jen and baby lay poolside. Ben unknowingly playing in the pool that his brother was murdered in is a sign that this final secret can’t be left untold. Jen says “Ben, I have to tell you something” before the screen cuts to black. Although audiences are left to interpret the aftermath of this themselves, this reveal should have taken place earlier in order to conclude the series with Ben’s confirmed forgiveness, which could have been justified by Steve’s cruelty and Ben’s involvement in the hit-and-run. Nevertheless, this is a gripping series with a decent conclusion. 8/10

Published by Mason Oldridge, 5 December 2022 Will Ferrell and Ryan Reynolds star in Apple TV’s comedy musical based upon A Christmas Carol. In the present day, Jacob Marley runs a company redeeming souls with the Ghosts of Christmas Past, Present and Yet-to-Come. Present (Ferrell) convinces Marley to choose Clint Briggs (Reynolds), a cruel and heartless businessman, as their next soul to redeem as Present believes he could make a positive change to mankind. Marley initially rejects the proposal as he is an “unredeemable” and they have only ever redeemed one of them before, though is eventually convinced. The story sets off on what appears to be a pretty predictable path, with Present guiding Briggs through the process, providing a pleasant comedy duo. However, the plot actually takes a more layered approach as it is revealed Present is Ebeneezer Scrooge, the only unredeemable to have been redeemed, and is worried he can never be fully reformed. Briggs convinces Present to relapse with his rudeness, resulting in a particularly fun musical number in Victorian England. Despite this, it is seeing Present struggle with his morality that helps Briggs reform himself, with the pair growing fond of and supporting each other rather than a one-way redemption. Furthermore, Present retires to Earth to start a family like he had been dreaming of but not daring to pursue and Briggs, rather than living a new reformed life on Earth too, dies in a sacrifice to Present, and becomes the new Ghost of Christmas Present. With the soundtrack composed by The Greatest Showman’s songwriting duo, the songs are strong and so are as enjoyable as can be to someone who doesn’t mind this form of interruption. Spirited thrives off being distinguishable enough from the Dickens story to be a different tale in its own right, with praise deserved for its diversion from predictability and the onscreen chemistry between the two leads. 7/10

Published by Mason Oldridge, 28 November 2022 The survival reality TV series returned to the Australian jungle this November after a covid-caused 2 years in a freezing Welsh castle and the sun down under was a welcome sight. Ant & Dec were back at the helm as the new celebs arrived. There were some big names this year including pop diva Boy George, radio veteran Chris Moyles and royal-related rugby legend Mike Tindall. However, it is safe to say one name dominated the camp this year: Matt Hancock. The former Health Secretary faced a backlash for entering while being a sitting MP and was met with criticism in and out of camp for his controversial handling of the coronavirus pandemic and having defied government guidelines. In addition to public outcry, he received a grilling from several campmates, particularly George, Chris, Charlene and Sue, though bullying is a more accurate term. George’s imprisonment for assault and Moyle’s comments about taking then child star Charlotte Church’s virginity had seemed to have been forgiven though! Matt was subsequently voted to do the trials for 6 consecutive days but, despite the negative reaction, performed incredibly, earning stars for meals and appeared unfazed at the challenges. Furthermore, he threw him into many other fun activities such as dancing and karaoke, showing his humble and caring human side he’d wanted to display, as well as demonstrating remorse and admitting to seeking forgiveness. The politician subsequently outlasted his challengers, finishing in third place. England women’s footballer Jill Scott went on to be crowned Queen of the Jungle with Hollyoaks hunk Owen Warner in second. Overall, this year was a strong one. Viewers definitely got their fix of conflict, there were the usual interesting chats down by the creek and we can’t forget Dec’s hilarious reaction to Moyles losing the stars in his poor trial performance. 9/10

Published by Mason Oldridge, 25 November 2022 Peacock’s high school murder mystery returns, this time with more drama, romance and plot twists. The new season follows the group as they attempt to uncover the identity of Simon Says, their blackmailer who has evidence they murdered Jake after discovering he was Simon’s killer. Through the use of suspense and variety of characters, the series manages to keep the investigation continuously enthralling. Furthermore, this season delves deeper into the coming-of-age element. Polar opposites Bronwyn and Nate grow closer, Cooper is still in love with Kris following their split last season, Janae battles with her gender identity and Addy struggles with her guilt and life purpose, all forming emotional scenes which will likely see viewers sympathising with the characters and rooting for the couples. The Christmas episode in which they spend a last night of freedom is particularly touching and deserves praise for its bittersweet effect. Season 2 delivers on ending as it is revealed that Nate’s tutor Fiona is Simon Says, having fallen in love with Jake in rehab over the summer, and Jake murdered Simon for exposing Fiona’s secret, nicely providing additional meaning to the first season. The gang then attempt to frame Fiona for Jake’s murder, though the twists keep coming as Maeve appears to be on Fiona’s side before it is revealed it was a trick to set her up. We then learn that Fiona knew the real reason Jake was in rehab, an event still unbeknownst to the audience, before Fiona chokes in her prison cell. The finale then closes on graduation set months later, with Bronwyn’s necklace found at a blood-covered crime scene at the school, setting up a third season perfectly. 9/10

Published by Mason Oldridge, 17 November 2022 The Netflix-revived supernatural drama turns up the heat as NBC’s cancelled show becomes the streaming giant’s most watched. Manifest returns for its fourth and final season and increases pace as it moves towards its conclusion. The first half of Part 1 sees Ben totally absorbed in finding his daughter Eden, two years after the Season 3 finale in which Angelica murdered Grace and abducted the infant. The 828 investigation takes a backseat for the widowed father, yet it is the callings that ultimately lead him to her in Episode 5, arguably the most dramatic episode to date. After the bomb scare, the highlight of the episode is when Zeke, who had recently been struggling with his empathic powers, feels Erika’s murderous rage and maniacally shoots her, threatening the lifeboat. Meanwhile, the 828 investigation receives some developments as a presumed dead passenger delivers the black box from the plane and it is discovered that during the 5 years they were in a ‘divine consciousness’. Furthermore, it turns out omega sapphire could be the key to saving the lifeboat. However, despite the revelations, the mid-season finale ends with an atmosphere of impending doom as it is discovered the death date is not just for the passengers but for everyone, Zeke sacrifices himself for Cal and Angelina emerges from the lava with the sapphire molten in her hand, leaving a trail of apocalyptic destruction in her path. 9/10

Published by Mason Oldridge, 21 October 2022 Horror, thriller and coming-of-age teen drama all come together in the latest chilling series from The Haunting of Hill House creator Mike Flanagan. The series sees a group of terminally ill teens living in a hospice tell each other stories at midnight while having a pact that the first to die should send them a message beyond the grave. This intriguing premise delivers as both the main storyline and the stories told within it eerily drawn you in. In contrast to previous series, a coming-of-age element is largely present as the group bond over their shared mortality and relationships form among the youngsters. The stories they tell all somehow partly relate to their troubled selves, with particular praise deserved for the heart-wrenching hitchhiking story. However, horror remains at the forefront whether it’s the record-breaking jumpscares in the premiere, the elderly ghosts, the time-jumping or the discovery of the underground chamber that once inhabited a cult. The penultimate episode is arguably the best as protagonist Ilonka discovers the friendly neighbour is actually Julia Jane, the former resident who was cured in the 60s, who attempts to perform a human-sacrifice ritual. The final episode isn’t as dramatic, though explains Julia was misdiagnosed rather than cured but attributed her fortune to the Gods instead of luck and she was performing black magic as she’d fallen ill again. It also wraps up all storylines, with Anya sending a message in the form of fixing her statue, before the final reveal that the elderly ghosts were the original owners of the building and Stanton has a cult tattoo. 7/10

Published by Mason Oldridge, 10 October 2022 Mila Kunis stars in Netflix’s film adaptation of the 2015 novel. The movie is branded as a mystery thriller though really appears more as a drama as there is minimal action. Nevertheless, audiences will be left intrigued due to the time-jumping narrative. The film sees Ani, an engaged writer who has created a perfect New York life for herself though harbours haunting memories of a childhood event. When a documentary crew approaches her, we learn she was present at a school shooting. The film cleverly reveals more about her history in flashbacks spaced between her adult life in the present. We eventually discover she was gang raped and her friend committed the shooting against the rapists after she didn’t report them. Kunis may be the star but it is Chiara Aurelia who deserves praise for her distressing performance as young Ani, demonstrating trauma amid the difficult scenes. As Ani secretly records a confession of the sole surviving rapist, the article she publishes on her story leaves several women feeling empowered and is particularly relevant in the MeToo movement. Despite being set in 2015 as people predicted the first female president, it is still a prevalent issue in society and, although her split with her fiancé is bittersweet, it shapes the positive ending of Ani finally taking control of her life in a more confident manner. In conclusion, the film may not be the most entertaining, but the flashbacks slowly reel you in, feature a rising star within them, and masterfully combat victim blaming in an unconventional situation. 6/10

Published by Mason Oldridge, 1 October 2022 Wakey wakey! The long-awaited TV adaptation of the puppetry horror web series has finally arrived and it’s crazier than ever! DHMIS has always been fascinating as its Sesame Street-style puppets start the show like a children’s series before descending into a dark horror with disturbing imagery; an artistic move never before seen in such a unique way. The change to the long-form structure could’ve allowed for more storyline-focused tales though stays in vein of its web origins. However, there is less horror and more comedy involved in its Channel 4 upgrade to pad out the extra time. Family is one of the stronger episodes as the trio meet a pair of twins and visit their unsettling family before discovering the chilling identity of their mother. The final episode Electricity sees Yellow Guy become more intelligent and touch upon discovering the guys’ reality as fictional characters until the final twist ends their opportunity to do so. The creators have stepped up their game with characters as well; the lonely friendship adviser Warren the worm and the elderly and ill Choo Choo Train are truly chilling. Also, the inclusion of a live action character in the final episode makes its plot much more unnerving. Overall, the TV series is not the most entertaining to watch but its creativity and meaning is truly thought-provoking. 6/10

Published by Mason Oldridge, 28 September 2022 Lead stars Camila Mendes and Maya Hawke both deserve praise for their roles in Netflix’s latest hit movie Do Revenge. The high-school film sees popular girl Drea team up with social outcast Eleanor to exact revenge on each other's enemy: Drea’s boyfriend for leaking an intimate video and Eleanor’s former crush Carissa for spreading a rumour. At first, the storyline appears to follow the simple yet intriguing plot with no obstacles. However, just as things are going to plan, we are soon met with the first twist that Drea spread the rumour and Eleanor is actually exacting revenge on her. It is at this point the film shows its capability of layered storytelling. Mendez’s performance as a popular girl who loses all credibility and begins to share her vulnerability is well received for highlighting a personality profile that is ever growing in a world of social pressure on teens. Hawke was already a Netflix star for her role in Stranger Things, though her performance is stellar as an outcast-turned-sociopath and is a credit for breaking the stereotype of weak and helpless introverts. Furthermore, the unforeseen development of the duo’s forgiveness towards each other proves there is no telling of how the story will end and makes the ending of exposing Max all the more sweet. Overall, the social commentary of the movie outperforms the entertainment value, though this is not a negative point. To anyone ready to give up at the midway lull: don’t. It gets a whole lot better. 7/10

Published by Mason Oldridge, 26 September 2022 Vinnie and the gang are back, getting up to no good once again in the fourth season of Sky’s hit comedy. The series opens with Vinnie making a cross-country journey to Wales to find Erin and Tyler after their escape in the Season 3 finale. Following the reunion, this season focuses primarily on Vinnie’s forced involvement with the criminal MacDonagh brothers after getting previous villain McCann arrested last season. While the storylines remain the same, the comedy is lacking this time and therefore highlights the unnecessarily excessive strong language, leaving Tommo’s quick wit to provide the main source of comic relief. Where the series had always demonstrated the ability to carefully blend hilarious situations with the emotional aspects of Vinnie’s bipolar, these scenes feel more forced and abruptly inserted this season, leaving viewers feeling detached from rather than sympathetic towards the protagonist. Despite these shortcomings, the season matches its predecessors in terms of drama and suspense as the final scenes are paired efficiently with a soundtrack that leaves viewers on the edge of their seats with a feeling of impending doom, as the characters each nervously return home before Dylan is kidnapped. 6/10

Published by Mason Oldridge, 4 July 2022 The Duffer Brothers step things up a whole new level with the fourth season of their sci-fi horror drama series. Season 4 sees the town facing a supposed new villain from the chilling Upside Down: the horrifyingly ruthless Vecna, who enters the minds of his victims before killing them. The new season perfectly balances a multi-strand storyline as the gang investigate the new threat, Eleven returns to the lab to retrieve her powers and Joyce and Murray set off on a dangerous mission to rescue Hopper from his Soviet capture. Although new addition Joseph Quinn deserves praise for his performance as the eccentric Eddie, Millie Bobby Brown is phenomenal as El is horrified to learn of the truth surrounding the lab massacre and the origin of One, which perfectly ties the whole story together in an episode (episode 7) that provides one of television’s best twist endings ever. Furthermore, Sadie Sink tugs at the heartstrings as Max struggles with her grief before a powerful scene in which she triumphs over Vecna by listening to Kate Bush, with the song in question knocking Harry Styles off the top of the charts in the UK to receive a higher position than its original release in 1985. However, it is newcomer Jamie Campbell Bower who delivers the standout performance as the eerie assistant in the Rainbow Room in a manner that draws parallels to Johnny Depp’s Willy Wonka. With coming-of-age and humorous elements thrown in for good measure in anticipation of the final battle in the ground-breaking 2.5 hours long season finale, Season 4 outperforms the previous tenfold, leaving viewers ready for the commissioned fifth and final season. 10/10

Published by Mason Oldridge, 15 May 2022 A Light for Attracting Attention is the result of Radiohead’s Thom Yorke and Jonny Greenwood’s work during lockdown with drummer Tom Skinner. The album opens with The Same, a hauntingly eerie track that contains ambient sounds reminiscent of Kid A while maintaining their own sound of OK Computer, whereas tracks such as The Opposite and The Smoke are built around a repetitive bass line similar to How to Disappear Completely. Unfortunately, what follows is essentially a regurgitation of these over again with slightly altered music and the songs fall foul of blending and risk being indistinguishable from each other. Despite this, single Pana-vision contains piano and falsetto that encapsulates an atmospheric sound, making it a very suitable soundtrack for the Peaky Blinders finale. Furthermore, We Don’t Know What Tomorrow Brings introduces some much-needed energy to an otherwise boring collection of songs. In conclusion, the album holds on to the infamous Radiohead sound and demonstrates the member’s talents yet lacks substance and memorability. Ultimately, the project doesn’t conjure up enough uniqueness and differentiation from the main band to constitute a separate project. 3/10

Published by Mason Oldridge, 22 May 2025 When in Rome, do as the Romans do! ITV may not have the best roster of comedy series when compared to its contemporaries of BBC and Channel 4 but it had a sure fire hit on its hands with the ITV2 sitcom Plebs. Running from 2013 to its bumper finale in 2022 across five hilarious seasons, Plebs deserves the crown (and toga) for being ITV’s greatest comedy. Set in Ancient Rome, it follows the weedy Marcus, his ladies man roommate Stylax and his lazy slave Grumio as they struggle to live as lowly citizens in the big city. Marcus and Stylax work for the intimidating Flavia in a scriptorium of a grain factory, along with waterboy Aurelius, who insists on being called waterman and has an unfortunate habit of speaking crudely just as their boss enters the room. The boys live in a block of apartments run by the greedy and lawless Landlord, who isn’t shy to pull a sly con on an unsuspecting Grumio. He is joined by the burly bodyguard Davus from the second season and later his ruthless mother Landlady. Marcus is the opposite of his playboy roommate and proves to be unlucky in love, therefore entertaining different love interests throughout the series. In the first two seasons, he falls for aspiring actress Cynthia, his neighbour from Briton, though his efforts are regularly thwarted by her slave Metella. Following their deportation, which he inadvertently plays a part in, he turns his efforts to Delphine, an activist from Gaul, which ultimately ends abruptly when he abandons her to seek refuge from a predicted earthquake. In the final two seasons, he embarks on a not-so-clear relationship with business neighbour Gloria, though this is also not without obstacles. The fourth season launches a major plot change as Stylax is killed off, crushed to death in a construction accident at the hands of clumsy worker Jason, who replaces him. The new trio, joined by Aurelius, then renovate an underground toilet block into a wine bar, which doesn’t quite become the swanky new watering hole they were hoping for. The recipe for success in a sitcom is the situations the characters find themselves in. After all, it is a situation comedy. Marcus doesn’t make the best first impression on Cynthia as he invites her to an orgy, which is more Stylax’s scene. He then fixes for Cynthia’s new gladiator boyfriend Cassius (Danny Dyer) to face a brutal opponent, which results in his decapitation. Grumio receives an erotic vase for his birthday, featuring someone with a resemblance to Cynthia from a certain angle, which Landlord proceeds to borrow. Marcus then pretends to like a stray cat that Cynthia is fond of, though the moggie soon dies. To make matters worse, Grumio, having been tricked into buying a lottery ticket with 50/50 odds of winning (you win or you don’t), loses it and believes it to be inside the dead animal. Stylax is excited by sexy new Thracian immigrants, until he learns his new love interest is married. Marcus and Stylax are forced into working during Flavia’s Saturnalia party, so they move the clock forward to leave early. In the second season, Stylax takes up charioteering, getting taught by an emotionally unstable divorcee (Shaun Williamson aka Barry from EastEnders). Aurelius is getting married and asks Marcus to be his best man, resulting in a disastrous stag do where the water carrier has second thoughts about his bride with brittle bones. Elsewhere, Grumio decides to adopt an abandoned baby he finds, which Stylax uses to date a wet nurse, until an incident involving her having an involuntary release. Stylax is mentored by a nobleman (James Fleet), whose interest in him he misinterprets. Marcus learns that the grass isn’t always greener when he purchases a psychotic new slave (Tim Key). Marcus is hired to manage the wig of a politician (Simon Callow). When Cynthia and Metella face deportation, Marcus enlists the help of hotshot lawyer Fabianus, but between Marcus having teased him at school and Grumio breaking the phallus off his stone statue, the plan backfires. The third season kicks off with the boys narrowly escaping death as they find themselves in an arena with a lion as the Games come to town. Thankfully, his new girlfriend Delphine is protesting the games… for cruelty to animals. Grumio’s birth father returns and apologises for abandoning him on a hill as a baby and Grumio intends on joining his soup business. Stylax sleeps with a vestal virgin (Michelle Keegan), who lets the flame go out. A theatre director (Miriam Margoyles) hires Grumio to play Cupid in a play. When a self-defence instructor belittles Marcus in front of Delphine, he exacts revenge that doesn’t end well. Stylax invents a new game jugball, which entails throwing a paper ball in Aurelius’ water jug. Grumio has to work for another master, where he teaches the other slaves to be lazy. When a weatherist moves in next door and predicts a minor tremor, Marcus uses it to attempt to spice things up with Delphine, though when the forecast turns more dangerous, he flees to evacuation without her. In the fourth season, the boys set up their new business The Crown and Toga, but aren’t off to a great start when they receive a negative review from a critic, leading to them faking an extremely positive one. Jason challenges Aurelius in a marathon, leading to a rather disgusting forfeit. When Grumio is mistaken for having learning disabilities, Marcus uses this to gain money from a charity. Marcus dates a stand-up comedian (Aisling Bea) but doesn’t like when she uses intimate details as material for her sets. When Grumio swallows a customer’s engagement ring, they have to wait for him to pass it. When the boys visit a bathhouse, they realise they can keep using their free trial for as long as they don’t leave. Marcus convinces a Jewish accountant to date him… and do the bar’s accounting. The boys try to steal the recipe for beer when a Germanian pub opens nearby. The fifth season starts with the boys on a trip, but when they collide with a pig (and Jason violently puts it out of its misery) they stay over at a farm with a nice family… who owned said pig. Back in the city, Marcus tutors Gloria’s son… and graphically threatens him. Meanwhile, Grumio finds himself on an under-14s boxing team after the coach (John Thomson) mistakes him for a schoolboy. Elsewhere, the boys become embroiled in a poison plot at a banquet, where Jason is attracted to one of the aristocrats (Amanda Holden). Grumio invents a hat, while Jason and Aurelius become male escorts. The boys try to attract sports fans to the bar but their lack of allegiance to one team sees their plan backfire as usual. They then find themselves in trouble with the police over the death of an archeological professor (Tony Robinson). When they get evicted, Marcus plays his parents for help whereas Jason becomes an estate agent… and stays in the vacant properties. Then, Marcus sees Jason’s brother’s wedding as a business opportunity but learns he may not go through with the marriage. Between the variety of brilliant characters, the hilarious situations of making immoral decisions for personal gain, plans backfiring or just downright misfortune and an array of special guest appearances, Plebs solidifies itself as ITV’s greatest comedy and indeed one of the best British comedies overall.

Published by Mason Oldridge, 19 May 2025 We return to where it all began as we head to Basel in Switzerland, the host and winning country of the first ever Eurovision Song Contest back in 1956, following their win last year. The 69th edition was presented by Hazel Brugger, Sandra Struder and Michelle Hunziker. There was only a 6,000 strong audience in the St. Jakobshalle arena despite its 12,000 capacity, yet held a 36,000 person viewing party in the neighbouring St. Jakob-Park stadium, which featured in the broadcast and was a nice touch. This year saw only national flags allowed in the arena, after pride flags and pro-Palestine flags were visible last year, and it was refreshing to see nationalities represented as intended, rather than used as a vehicle for performers to promote their ideology. The grand final opened with reigning champion Nemo performing last year’s winning song The Code, followed by the flag parade of all 26 finalists. Despite Sweden being the hot favourite by bookmakers, the winner was Austria, represented by JJ with his song Wasted Love, an operatic pop anthem with a techno ending. This marked the second consecutive win of an operatic pop song by a queer artist, something noted by our UK commentator Graham Norton as he claimed it may not win due to its similarities to last year’s winning entry. The performance was emotionally vulnerable, featured impressive vocals and innovative nautical staging depicting JJ aboard a sailboat, with camera techniques emulating a tempest storm on the water. Primarily slow throughout, the electronic outbreak is a welcomed change in pace at the latter end and elevates the atmosphere surrounding the song. Wasted Love sounds like a Eurovision winner and was definitely one of the strongest entries on the night. It placed fourth in the televote. Once again, the competition was tarred with controversy surrounding Israel’s inclusion, sparking calls for exclusion and protests. Despite this, October 7 survivor Yuval Raphael took to the stage to perform New Day Will Rise. Sitting in mere 15th after the jury votes, it astonishingly won the televote to send them rocketing to the top of the table. It then came down to the wire, with only Austria’s public vote to be announced, and finished in second place overall. The EBU were likely left breathing a huge sigh of relief as Israel narrowly missed out on success, which would have no doubt posed a logical nightmare for producers, on top of an almighty backlash and locational limbo, and may leave them reconsidering Israel’s place in future… or at very least implementing plans for a hypothetical win. The UK was represented by country pop trio Remember Monday with their harmonising single What The Hell Just Happened? Jury votes started to trickle in for the United Kingdom, even receiving 12 points from the Italian jury, before being hit with the dreaded 0 points from the public, plummeting us down to a 19th place finish. This was an unjust position for the girls after they gave such an impressive performance in comparison to some of our past entrants.   Novelty acts were successful this year. Frontrunners Sweden were represented by KAJ, who performed their catchy sauna-based tune Bara bada bastu, making use of props, while Estonian musician Tommy Cash performed his electro-swing coffee-themed hit Espresso Macchiato, complete with an amusing dance that leaves you questioning how his legs move that way. They finished fourth and third, respectively. Unfortunately, Australia’s first comedic offering with Milkshake Man failed to qualify for the final. There was the usual array of genres across the running order too. There were a handful of ballads from the likes of France and Switzerland, while there were dance pop offerings from Denmark and Malta, the latter of which failed to live up to its hype. Germany and San Marino brought EDM club bangers to the final, whereas Lithuania provided a rare rock option, as did Italy but more in the glam rock style with Lucio Corsi performing in face paint reminiscent of David Bowie. Furthermore, Ireland saw singer Emmy perform 90s-inspired Aqua-esque Eurodance track Laika Party, a tribute to the space dog providing a happier alternative ending to the heartbreaking true story, although ultimately failed to qualify for the final. Finland’s Käärijä and Croatia’s Baby Lasagna, runners-up and televote winners from the 2023 and 2024 editions respectively, performed as an interval act, enacting a battle-style mashup of their Eurovision songs before evolving into their new collaborative track #Eurodab. Hailing as fan favourites, they brought the fun and energy to the stage that everyone wants to see, before Nemo returned to perform new single Unexplainable. Unfortunately, entries this year felt rather poor in comparison to those of the past two editions, with many fitting the Eurovision mould yet not many standing out as powerful or memorable. Nevertheless, we can always enjoy our annual trip around Europe and we were sure given an exciting results sequence! The contest is expected to return to Austria in 2026, where we will see who is the next artist to rise like a phoenix.

Published by Mason Oldridge, 1 May 2025 Black Mirror is a groundbreaking and innovative anthology series that deals with an underlying theme of technology and serves as somewhat of a psychological thriller, manipulating the minds of both characters and viewers alike. Becoming ever more relevant, we take a look back at the show that unlocks increasingly possible nightmares! S1E1: The National Anthem A troubled artist kidnaps a royal princess and blackmails the prime minister to have sex with a pig on live television. The princess is released prior to the heinous act, which therefore could’ve been prevented, yet no-one notices as the billion plus audience are eagerly watching, a commentary on how everyone is glued to their phones! S1E2: Fifteen Million Merits In an alternate reality, people ride stationary bikes for the currency of merits. The way Bing hypocritically sells out similar to Abi outlines how as a society we favour our own betterment at selfish costs, a message further conveyed via the chilling final scene of the natural world outside. S1E3: The Entire History of You In a future where people can replay their memories stored on a grain device behind their ear, Toby becomes suspicious of his wife Ffion when she interacts with her friend Jonas at a dinner party. The episode serves to show the negative effects of jealousy as well as uncovering some unpleasant truths. S2E1: Be Right Back When Martha’s boyfriend Ash dies in a road accident, she begins interacting with an AI android version of him. The episode highlights how AI may appear to be helpful but can actually have an adverse effect, in this case hindering the grief process. S2E2: White Bear A woman wakes up with no memory and is recorded by multiple people. The plot twist in which it is revealed the whole event is a staged performance and she is a child murderer receiving punishment makes the episode one of the more shocking instalments. S2E3: The Waldo Moment Jamie portrays an animated bear called Waldo on a satirical show, but his life changes when the character becomes a political candidate. This can be viewed as an exaggerated demonstration on how entertaining figures can become popular within the political landscape. Special: White Christmas Two men discuss their past in a remote cabin on Christmas Day. Their respective stories are compelling, Joe’s growing confusion is intriguing and the reveal and ending is shocking. S3E1: Nosedive In a world where people have an overall rating in life based on social interactions, Lacie is desperate to increase her score. This system draws parallels with real-life popularity on social media and delivers a message on the pressure to maintain likeability as Lacie, despite being imprisoned, is relieved to no longer care. S3E2: Playtest Cooper takes part in an experimental AR horror game which targets his own fears. As the episode progresses, it becomes unclear what is real-life and what is simulated and the reveal that Cooper died from interference in 0.04 seconds after ignoring the rule to turn his phone off elevates the episode as one of the best. S3E3: Shut Up and Dance When a hacker records Kenny masturbating via his webcam, he is blackmailed into a series of bizarre and increasingly sinister tasks. The closing scene, in which the police descend on a bloody Kenny as his mum calls him and we learn he went to such extreme lengths as he was viewing child pornography, all set to Radiohead’s Exit Music, is one of the most chilling and disturbing pieces of television ever. S3E4: San Junipero San Junipero is a simulated reality beach resort town that the elderly and deceased can inhabit appearing as their younger selves and follows the relationship of Yorkie and Kelly. The episode deserves the praise it received for its 80s aesthetic and positive ending. S3E5: Men Against Fire Soldiers hunt ‘roaches’, who are revealed to be an ethnic group whose appearances are distorted using an AR implant to help the soldiers kill without mercy. Stripe’s choice between imprisonment and memory wipe upon learning the truth resembles the red pill and blue pill decision from The Matrix and sees him choose ignorant bliss. S3E6: Hated in the Nation A tech company has created robotic bees to prevent extinction, but the bees are hacked to kill nominated victims on social media. The police investigation and race to stop future murders is exciting, culminating in the mass murder of every nominator, and the ending in which the detective tracks down the perpetrator is a nice twist. S4E1: USS Callister Robert Daly is the overlooked architect of an online video game, but at home, he has created a private version where he enslaves digital clones of his co-workers on a spaceship of which he is the captain. The Star Trek-themed sci-fi set piece is impressive and the crew’s fight to free themselves makes for a truly thrilling action adventure. S4E2: Arkangel Overprotective parent Marie uses an excessive tracking system on her daughter Sara. The episode serves to prove the negative effects of helicopter parenting, something exaggerated in the violent ending which is partly caused by the system itself. S4E3: Crocodile Fifteen years after covering up a hit-and-run, Mia commits a series of linked murders to cover her tracks. Filmed in Iceland, the Nordic noir influence adds to the tone and the bizarre method using the guinea pig is genius. S4E4: Hang the DJ Frank and Amy are paired by a dating device that matches people for different amounts of time and experience an instant connection, though fail to connect with subsequent matches. Similarities can be made to real-life dating apps and the episode questions their effectiveness as the couple rebel against the system as if showing love cannot be calculated by an algorithm but is revealed to be one of many simulations to determine real world compatibility. S4E5: Metalhead Maxine attempts to survive while being hunted by robotic dogs in a post-apocalyptic wasteland. The episode is filmed in black and white and features minimal dialogue; no background is provided and the reveal of teddy bears in the box at the end is unexplained. S4E6: Black Museum Nish visits the remote Black Museum where its owner Rolo guides her through its disturbing exhibits. The stories of each artefact are interesting, there is growing intrigue over Rolo’s declining health and the plot twist of Nish’s identity and actions is thrilling. S5E1: Striking Vipers Danny and Karl play a VR video game, but things become complicated when their avatars have sex in the game, putting a strain on Danny’s marriage. The episode is a truly unique vehicle for questioning one’s sexuality. S5E2: Smithereens Chris kidnaps an intern from a social media company. The reason he does this outlines the addictiveness of social media, while the standoff makes for tense viewing throughout. S5E3: Rachel, Jack and Ashley Too Rachel is gifted Ashley Too, an AI robot based on her favourite pop singer Ashley O, to the annoyance of her older sister Jack, but the trio have to work together to save the real artist. The episode provides social commentary on AI, the increase of holographic performances of deceased musicians and controlling management in the music industry. Rarely does a show create such a chilling atmosphere and leave such a horrifying impact. When a device is switched off, its screen is just a black mirror.

Published by Mason Oldridge, 26 February 2025 When I tried explaining the concept of the popular Channel 4 reality series Gogglebox to my American friend, it’s safe to say she didn’t understand how this show is such a success. After all, people watching people watching TV does sound pretty boring. So how does this simple yet effective formula keep viewers kicking back on their sofas and tuning in every Friday night? Well I think we can definitely attribute the cast to the show’s success this time. Narrated by Craig Cash in his unique register, taking over from his late Royal Family co-star Caroline Aherne following her passing, different families across the UK offer their opinionated, emotional and humorous takes on the past week’s TV choices as they invite us into their living rooms. Many previous cast members have gone on to further their reality careers, there’s been a couple serve as politicians and it even launched the career of television personality Scarlett Moffatt! As the show returns for its 25th series, let’s take a look at some of the best cast members, past and present! The Siddiqui family Sid Siddiqui and his sons Baasit and Umar (plus occasionally third son Raza) reside in Derby and are the only original cast members to still appear. They aren’t above finding humour in Asian representation on TV and their quick-witted remarks make them one of the funniest families on the show. Jenny and Lee Best friends Jenny and Lee watch TV from Lee’s static caravan in Hull. Lee is known for pranking Jenny and giving her the puzzled raised-eyebrow side-eye combo when she comes out with something bizarre or becomes irrationally tearful, yet their long-tenured friendship is clear to see. A highlight has to be the incident when Lee accidentally ate Jenny’s face mask, believing it to be some sort of dip. The Malone family In Manchester, truck driver Tom and his wife Julie are joined by their adult son Shaun and their array of rottweilers. The father of the family isn’t shy to a sweary rant and often expresses dismay at his happy-go-lucky son’s comments. They were previously joined by eldest son Tom Jr., who left to pursue an online career. Giles and Mary Marmite couple Giles and Mary live in their thatched roof cottage in Wiltshire and do their viewing from their very floral living room. Etiquette expert Mary is often frustrated at her husband’s various eccentricities, though Giles seems to enjoy being his wife’s personal wind-up merchant. Ellie and Izzi In Leeds, sisters Ellie and Izzi love to talk about food and recall stories of their Auntie Margaret, as well as discussing what they’re watching on the box too, and no topic is too personal for the sisters to share with a national audience. Dave and Shirley Married couple Dave and Shirley discuss the week’s offerings from their home in Caerphilly, where the Welshman is left in hysterics at some of his wife’s hilarious misunderstandings and no-nonsense comments. Alison, George and Helena Alison, her rarely-speaking husband George and her daughter Helena share their thoughts from Alison and George’s colourful living room in Manchester. Alison is a keen knitter, while Helena is prone to a quirky dress sense herself. The trio are sometimes joined by Helena’s young son Erwin. Pete and Sophie Pete and his little-yet-taller-than-him sister Sophie are in Blackpool and are related to the legendary comedy duo the Chuckle Brothers. Along with Sophie’s recognisable laugh and their excessively sized teapots, the siblings have become known for their political scathings and silly humour. Abbie and Georgia Best friends Abbie and Georgia broadcast from the North East and are often joined by Georgia’s baby and her pet staffie Vinnie. The girls are regularly confused at both the content they watch and the discussions they have outside of their viewing. Simon and Jane In North London, siblings Simon and Jane watch TV together. Simon doesn’t shy away from joking about his dwarfism and has occasionally been subjected to uncomfortableness during the racier scenes whilst sharing the room with his sister. Roisin and Joe Flying the flag for Scotland is Roisin and her boyfriend Joe in Glasgow. Roisin can usually be seen with her feet up across her boyfriend’s lap while Joe makes some witty remarks. Stephen and Daniel Hairdressing husbands Stephen and Daniel dissected the week’s TV from their home in Brighton. Stephen would take centre stage with his impressions of the various faces that crossed the small screen, before the couple left the show in 2023. Stephen was a cast member since the show’s inception, having previously been joined by his late mother and, before that, his former partner Chris. Mary and Marina Good friends Mary and Marina shared residency at the St Monica Trust Retirement Village in Bristol. Mary loved to sing and was often met with praise from Marina as this sweet natured friendship warmed hearts across the nation. Kicking around the age of 90, this didn’t stop the elderly pair from making crude comments from time to time and having a keen eye for some of the men on their screen. A highlight of these two was when they were thoroughly entertained by Christmas film Home Alone as the classic movie transcended their age to make them laugh still. Mary passed away in 2021 at the age of 92. Leon and June Husband and wife duo Leon and June presented their opinions from their side-by-side armchairs in their Liverpool home. Leon may have been sharp-tongued at times but the love of the retired teachers ultimately shone through. They passed away in 2017 and 2020 respectively. Steph and Dom Known as ‘the posh couple from Gogglebox’, married couple Steph and Dom were rarely seen without a drink in hand, with their alcohol cabinet on display behind them. Residing in Kent, the B&B owners were fan favourites on the show until their departure in 2016. With an extensive cast that nicely reflects families up and down the country, Gogglebox has earned its longevity on the Channel 4 Friday night lineup and in British culture as a whole. After all, people watching people watching TV has never been more entertaining!

Published by Mason Oldridge, 6 February 2025 Good morning USA! Stan Smith has been jumping out of bed the same way for 20 years now. Initially set up following the cancellation of creator Seth MacFarlane’s other animated comedy Family Guy and born out of frustration with the Bush administration, American Dad was based on the premise of a Republican father and his liberal daughter, though this setup was soon exhausted, leading to the show branching out into different storytelling. Upon its special anniversary, let’s take a look at how the one-of-its-kind animated comedy with its own brand of surreal humour has changed over time. Right-wing CIA agent Stan Smith lives in Langley Falls with his family, who he loves but also often tries to improve. He is married to Francine, a housewife who sometimes sets about exploring her own ambitions, and with whom he shares two children: hippie adult daughter Hayley and dorky teenage son Steve. Hayley is dating and later marries her stoner boyfriend Jeff Fisher, much to Stan’s dismay, while Steve spends all his time playing with his equally uncool friends and lusting after girls. Also living in the Smith household is flamboyant alien Roger who Stan rescued from Area 51 and their pet goldfish Klaus who inhabits the mind of a German ski-jumper after the CIA switched them. In the earlier seasons, many episodes would focus on the political clash creating a rift between Stan and Hayley. In Stannie Get Your Gun, the two disagree on the topic of gun control and Hayley performs an anti-gun song at an ammunition-themed park, but when she accidentally shoots Stan, leaving him paralysed, she begins performing pro-gun songs against her own beliefs with Stan out of guilt. Elsewhere, in Bush Comes to Dinner, Stan has won a contest to have his personal hero President George W Bush come over for dinner, which Hayley uses to challenge his actions over the Iraq War.  Often featured in a subplot is Steve’s adventures with his friends: Jewish best bud Snot, unintelligible and overweight Barry and Japanese-speaking Toshi. Typical antics include playing video games in I Ain’t No Holodeck Boy and arguing over a Russian mail order bride in Of Ice and Men, but there’s been a couple of episodes that have averted the usual. Escape From Pearl Bailey focuses solely on the boys with only a cameo appearance from the family as Steve enacts revenge on the popular girls at school. Later on, in Independent Movie, the group embark on a cross-country road trip for the funeral of Snot’s estranged father in the style of the titular genre. A recurring part of the show is Roger’s various characters he portrays for disguise (and pleasure) as he creates ridiculously over-the-top personas with complex backgrounds. Some highlights include Roy Rogers McFreely, who challenges Stan on the homeowners association, Dr Penguin, the family’s therapist that they all rely on despite offering bad advice, Max Jets, an elderly billionaire who begins a relationship with Stan’s mother and Sidney Huffman, a shy introvert who has taken on a life of his own. However, there is one legendary Roger persona: the villainous Ricky Spanish. Whenever his name is mentioned, a whispering voice repeats it while a flashback to one of his dastardly deeds is shown. In the episode, Spanish seemingly sets about to right the wrongs he has made, but his antagonist behaviour is revealed to have remained as he frames Steve for one of his devious plots. Aside from his outlandish personas, the character of Roger allows for space episodes too. In a multi-strand storyline, Jeff is sent there when he discovers Roger’s true form and must make a treacherous intergalactic journey to return home. In one episode set solely in space, Jeff attempts to prove to alien overlord Emperor Zing that his love for Hayley is true and he deserves to return to Earth in what is arguably the series’ most creative and surprisingly emotional episode. American Dad has also never shied away from difficult topics either. In The American Dad After School Special, it tackles anorexia as he develops the condition after mocking Steve’s overweight girlfriend Debbie. It cleverly purports that Stan has initially become overweight himself, with the family concerned about his rapid change in size, before revealing that we were seeing him as Stan sees himself and he is actually underweight, with the family worried about the major weight loss. Elsewhere, in Lincoln Lover, the show tackles homosexuality as Stan is invited by a gay branch of Republicans to speak at their convention and, leaning into their community, learns that being gay is not a choice like he previously believed. Despite adopting a rather bizarre storyline which sees Stan attempt to sleep with gay neighbour Terry, the episode was actually praised by the Gay & Lesbian Alliance Against Defamation. Furthermore, in Stan’s Best Friend, the family buys a puppy against the wishes of Stan, who is traumatised by the death of his childhood dog. When their new pet Kisses is gravely injured, rather than taking him off life support and letting the pooch pass away peacefully, Stan desperately seeks help from an alternative vet, who performs unorthodox surgery to keep the dog alive using an electric shock machine. Despite the disturbing new appearance of Kisses and a jealous Roger revelling in Steve’s heartache, the episode actually serves to deliver a powerful message about dignified dying. The series has also enjoyed a range of Christmas episodes too over the years, with a recurring theme of Santa out for revenge on the Smiths ever since Steve accidentally shot him in For Whom the Sleigh Bell Tolls. American Dad may be one of the most madcap shows on television, bursting out of the shadow of Family Guy to make a name for itself, but while it can deliver up the laughs, it has also succeeded in producing stories across its different characters and some complex storytelling too. The show may have changed trajectory, but all for the better as it opened itself up to further avenues that have made the series what it is today.

Published by Mason Oldridge, 31 January 2025 Bus wankers! Yes, there’s going to be lots of strong language in this one, so don’t say you haven’t been warned! Posh and nerdy Will McKenzie has recently moved from his private school to the local comprehensive following his parents’ divorce. He befriends other socially-awkward teenagers: the easily-stressed Simon who obsesses over his childhood crush Carli; the filthy-minded compulsive liar and bragger Jay and the loveable yet simple-minded Neil. The Inbetweeners is a coming-of-age sitcom following the boys as they navigate their way through sixth form, attempting to overcome the teenage obstacles of bullies, mean teachers and failed sexual encounters. Running gags throughout the series include the boys fancying Will’s mum and teasing that Neil’s dad is a closeted gay. Rarely does a comedy series gain such a cult following like The Inbetweeners. Debuting in 2008 and concluding with the second film in 2014, the show would go on to be quoted around classrooms for years to come. One of The Inbetweeners’ staying powers is the way each episode contains several memorable moments and loads of hilarious phrases, but here’s an attempt to pinpoint just one best moment from each episode! S1E1: First Day After refusing to be served, Will angrily claims that the pub is full of underage students, getting them all kicked out, with comments such as “his mum still buys his trousers, 16!" S1E2: Bunk Off Following playing hooky for the day and getting drunk, the boys head to Neil’s house, where Will verbally abuses Neil’s dad, calling him a “bumder!”, an amalgamation of bender and bummer. S1E3: Thorpe Park Having specifically queued for the front seats on Nemesis Inferno, Will is enraged to find there is only one space available and unleashes a furious rant about the “inconsiderate arseholes”, only to discover they have down syndrome and are members of The Happy Foundation. S1E4: Will Gets a Girlfriend Will manages to bag the popular girl in school Charlotte “Big Jugs” Hinchcliffe, but when they proceed to the bedroom, Will is rather wooden in his first time performance. S1E5: Caravan Club Jay tells of his sexual encounters at the caravan club, but is proved wrong when the boys tag along with him and find it is not as much of an “orgy” as he had claimed. S1E6: Xmas Party When Mr Gilbert hands over to Will for planning the Christmas party, Will refers to him by his first name: Phil. Mr Gilbert is not best pleased by this and insists he say his name properly. S2E1: The Field Trip The boys take a boat out on the annual school field trip and inadvertently catch a large fish. Neil sadly proclaims it won’t survive after being out of the water and proceeds to punch it to death. S2E2: Work Experience A girl in the year below is romantically interested in Simon and gives him a handjob at an under-18s disco while his friends watch on uncomfortably. S2E3: Will’s Birthday When Will is annoyed at the lack of sophisticated conversation at his dinner party, a few seconds pass before Neil asks “how much Lego can you stuff up your bum?” S2E4: A Night Out in London In Simon’s car, Jay winds his window down and shouts “bus wankers!” to people waiting at a bus stop just before a red light, to which they mistakenly confront Simon over, while Jay slumps down in his seat. S2E5: The Duke of Edinburgh Awards While reluctantly volunteering at a care home, Jay slopes off to the room of a recently deceased woman and masturbates over a young photo of her. However, the woman is not dead but in fact sleeping in the room, though is quite proud of him as her family walk in and shake Jay’s hand. S2E6: Exam Time After consuming lots of energy drinks, Will has an unfortunate accident in his exam before Mr Gilbert shamefully escorts him to the toilet. S3E1: The Fashion Show Simon is a last minute replacement in the school fashion show, but suffers an unlucky wardrobe malfunction as he performs with his testicle exposed, unbeknownst to him.  S3E2: The Gig and the Girlfriend At a gig, having been peer pressured by the others to consume weed, Will freaks out and interrupts the stage, claiming to the crowd that he thinks he might be dead and to call an ambulance or his mum, all whilst he uncontrollably flails his arms. S3E3: Will’s Dilemma When Will is matched with Kerry, a girl much taller than him, he attempts to let her down gently. This upsets her greatly and he learns from her friend Tara that her dad died recently. Will accepts this is terrible news but explains that “it’s not relevant, is it”. S3E4: The Trip to Warwick Simon and Tara head to her sister’s university digs to have sex with each other for the first time. However, he is unable to obtain an erection and starts slapping his manhood, scaring Tara, who subsequently breaks up with him. S3E5: Will is Home Alone The boys vandalise a neighbour’s garden for fun, only for the angry man to attempt to confront them as they all hide in Will’s house. Will’s elderly neighbour then proceeds to check in on him, but Will slams the door on her as he is pretending to not be home. S3E6: The Camping Trip The boys go camping, but when the others use Will’s possessions to keep the fire alive, he angrily proclaims “stop burning my things!” The Inbetweeners Movie In an attempt to impress girls in a club, Will, Simon and Neil bust out some unique dance moves set to We No Speak Americano. The Inbetweeners 2 At a waterpark, Neil has diarrhoea and fails to prevent relieving himself at the top of a slide that Will is currently going down. He tries to warn him but Will ultimately gets splattered and vomits in response, getting the entire park shut down. People may ask, is 2000s teenhood really that vulgar? The answer would be no, the show does exaggerate it, but not as much as you may think! But that is why the series, along with being the rudest and crudest, is also the funniest comedy of the 21st century.

Published by Mason Oldridge, 24 January 2025 We are well into January now and both BBC One and ITV1’s Saturday night lineups are in full swing. It is one of the most competitive programming slots as the rival networks go head-to-head to win over the millions avoiding the icy conditions outside in turn for a cosy night in by the fire. However, this is indeed a year-round fight and so let’s take a look at some of each channels’ best Saturday night shows to determine who has the stronger content. Note that we are excluding the big talent shows of Strictly Come Dancing, Britain’s Got Talent and The Voice as they all win on their own merit. The Masked Singer Who’s that behind the mask?! Comedian Joel Dommett (interesting choice but it appears to have worked) presents this madcap singing competition in which celebrities perform against each other in giant costumes to disguise their identity in front of the judging panel of Mo Gilligan, Davina McCall, Maya Jama and Jonathan Ross and an excitable studio audience. Each week a celebrity leaves the contest and is unmasked, slowly as everyone chants “take it off!” The concept may sound cheesy and there is a notable history of talented professional vocalists leaving in the earlier stages, but it is strangely addictive to find out who has remained anonymous for so long in a show with tight security to keep such information disclosed. Gladiators Contender ready?! Gladiator ready?! Plucky contestants take on a whole new batch of the infamous superhumans in a series of gruelling physical challenges at Sheffield Arena in this reboot of the 90s classic. The brave competitors are not just up against the gladiators hunting them down but a fellow contestant too as each show sees two males battle it out and two females go head-to-head in the final race (featuring the dreaded Travelator) in a bid to move on to the next round. This third incarnation of the show is hosted by established presenter Bradley Walsh and his rising star son Barney. The father-and-son duo garnered success together on their travelogue series Breaking Dad, though it seems that format suited them better than as a presenting duo as their cringeworthy delivery makes for awkward viewing, but ultimately doesn’t hinder this timeless concept. Michael McIntyre’s Big Show One of Britain’s most successful and funniest comedians Michael McIntyre takes time out of his touring schedule to present this variety show featuring a mix of comedy, music, games and pranks. As Michael promises, there’s “big stars, big laughs and even bigger surprises!” Spanning from a one-off Christmas special, regular features include Unexpected Star which allows a member of the public who dreams of performing set up by their family and friends to have their moment in the spotlight as they close out the show, its celebrity variant Unexpected Star Star which sees a famous singer tricked into performing one of their hits, Send to All in which a celebrity guest hands over their phone to Michael who sends an embarrassing text to all of their contacts, the Midnight Gameshow where Michael and a camera crew sneak into a celebrity’s bedroom in the middle of the night to play a round of ridiculous games with the unexpecting and slightly dazed guest and Remember Me which sees a celebrity guest try to recall how they once knew the person stood in front of them on stage. Highlights from these include Ricky Wilson’s soft play prank as the Unexpected Star Star and Bradley Walsh meeting Fanny Chmelar from the viral question on The Chase during his Midnight Gameshow. Hosted from the Theatre Royal, Drury Lane, even the audience members aren’t safe from featuring in Michael’s cheeky antics. We are also treated to musical performances at times and, if really lucky, a brand new comedy routine from Michael! Ant & Dec’s Saturday Night Takeaway Having been at the helm of Saturday nights for over 20 years, TV presenting royalty Ant & Dec retired their light entertainment variety show Saturday Night Takeaway last year, citing the excessive preparation required during production. Introduced by a different Star Guest Announcer each week and often beginning with audience surprises, features include holiday giveaway section the Happiest Minute of the Week, Little Ant & Dec in which a child version of the duo interview celebrities, Ant vs Dec which sees the cheeky chaps go head-to-head, Undercover and Get Out of Me Ear which sees a celebrity either pranked or told what to say and do via an earpiece, Win the Ads in which an audience member takes part in a quiz of questions about the past week in a chance to win the contents of advertisements and finally the End of the Show Show as a performer takes to the stage, along with Ant & Dec’s involvement. The format is definitely a winning one but excels more than anything due to the lovable Geordie duo. One of the segments spawned a spin-off series In For a Penny in which Stephen Mulhern travels the country playing ridiculous games on the streets as unsuspecting members of the public aim to win a grand. The 1% Club This incredibly unique game show hosted by funnyman Lee Mack sees 100 contestants answer increasingly difficult questions ranging from what 90% of the public got right all the way down to the 1% question, gradually whittling down the players. However, the questions are not general knowledge but based on logic, acting as a test of how your brain really works. The format is genius and it is impossible to not play along. Along with Mack’s funny interactions with the contestants, often based around what they would spend the money on, The 1% Club is a winning formula and proving popular with viewers at home too. In conclusion, both channels have strengths in their respective lineups, but ultimately it is down to the individual and their personal preferences as to which number is starting to rub off the remote control.

Published by Mason Oldridge, 5 September 2024 Hey moustache! From Murr acting like a boss and Sal being chased by a giant cat to Q embodying his Tony Gunk persona and Joe searching for Larry, this is certainly a prank show like no other, as the joke is on them! Impractical Jokers is a hidden camera comedy series in which “four lifetime friends compete to embarrass each other”. Murr, Sal, Q and Joe of the comedy troupe The Tenderloins take part in daring and humiliating challenges, primarily in their home county of Staten Island, New York. The most unsuccessful joker of each episode is the ‘loser’ and has to take part in a mandatory ‘punishment’ decided by the others. As the years have gone on and the show has garnered more popularity, the premise has extended to feature challenges on a wider scale and reached further locations, much to the delight of their die-hard fanbase. With the show having begun its eleventh season this summer, we take a look back at the best punishment of each season. Joe is out of toilet paper (Season 1) With a smaller budget and no fanbase, the first season contained rather small-scale punishments such as Butterfly Crime Scene and Joe as a bellydancer. However, in episode seven, Joe has to go to a coffee shop toilet and open the door while using the facilities, asking customers for toilet paper as he has run out. This proved to be a defining moment of the show as this was the first sign that Joe cannot be humiliated and will dare to do anything. Sal and Joe are the opening act for Imagine Dragons (Season 2) While season two gave us Strip High Five and Q’s clone Rosie O’Donnell, the funniest punishment has to be when Sal and Joe perform as Senora Lonza (named after their high school Spanish teacher), the fake opening act for rock band Imagine Dragons. With Sal on guitar and vocals and Joe as the drummer, they perform made up songs Look Mommy I’m A Rockstar and acapella Shut Your Face Grandma. In addition to their terrible performance, they have to incorrectly refer to the band as Imagination Dragons and dedicate their set to the people of Pittsburg, calling them their best audience, despite performing in Long Island. Murr’s skydive (Season 3) Season 3 contains some of the greatest punishments such as the tattoos, the senior citizen park proposal and bingo, but arguably the most memorable is Murr’s skydive. Under the impression they are filming a challenge pretending to be instructors, the other jokers pull the classic “Well…” twist and reveal the truth. Murr initially point blank refuses and it takes a long time to get him in the plane. Eventually, he jumps but screams the entire time in a truly memorable moment of the show. Murr the bodybuilder (Season 4) Season 4 gave us Sal as a children's talent show judge, Murr as a centaur and Joe as Captain Fatbelly, as well as the live tightrope punishment special, though the crowning punishment goes to when Murr had to dress up as a excessively greased-up bodybuilder in revealing briefs and interview his childhood celebrity crush Danica McKellar from The Wonder Years. The funniest part of the punishment is when he has to pose with a serious expression and the experience creeps her out on the whole. Murr’s prostate exam (Season 5) Season 5 sees Joe staring at people at a gym, Sal interrupted by his annoying ringtone Whose Phone Is Ringing, Murr’s eyebrows shaved for his driving licence photo and Q being an obnoxious little league dad, as well as the Nitro Circus Spectacular, but the standout punishment is when Murr is given a prostate exam in front of an audience at a health seminar. There is a clear mix of discomfort and embarrassment and this would go on to be referenced in future episodes with the return of Dr Frank. Joe the Genie (Season 6) Season 6 features some brilliant punishments such as Joe having to criticise parents at a playground, Murr performing as Dracula in a gospel choir, Joe stealing autographed baseballs and the introduction of Murr’s wig made from Q’s hair, as well as the army-themed G.I. Jokers special. However, the punishment that is the most laugh-out-loud is Joe performing as a genie in a play. He is only allowed to say “Genie does as you wish” and is restrained in a harness, suspended in the air and swung across the stage, crashing and damaging the set design. Like A Boss (Season 7) Joe as ‘the manager’, Sal as a lifeguard and Q ruining fans’ autographs of a baseball star are just a few of the highlights from the seventh season, though it is Murr who features in the headline punishment this season as he poses as an employee of Tumblr and continuously interrupts a presentation with obnoxious lines, most notably “like a boss”. The first time he says it he is applauded, making the overuse of the second time all the more cringeworthy. Murr is Yanni’s cameraman (Season 8) Winning over Sal as a delivery man complaining over cheap tips, Murr refusing to give prizes to winners at a fairground and Q repeatedly stopping a ride with an emergency break is Murr as Yanni’s cameraman. Murr is a big fan of composer Yanni and has to pose as a cameraman at a concert, capturing poor camera angles. Adding to this punishment is that Murr’s captures are broadcast on the screen so the audience can all see the poor job he is doing. Dumb Fucks (Season 9) Season 9 is notable for being affected by the coronavirus pandemic and Joe’s mid-season departure, as well as featuring Q’s Drive, Drive, Drive punishment that inspired the naming of their new tour and Sal’s punishment that saw him be referred to as Prince Herb for several episodes, though the best punishment is in the debut of guest star episodes as Eric André punishes Sal. He must give people a minor surprise, such as pretending their shoes are untied, and then tell them they are on a prank show called Dumb Fucks, suggesting they were gullible. The funniest part is when an uncomfortable Sal has to get them to sign a release to appear on the fake show while trying to play down how they will be portrayed, despite the show’s name. Weed Cookies (Season 10) Despite the upset over Joe’s departure, the first season to fully feature guest stars has still included some hilarious punishments such as Murr posing as a stage manager for a gig and Sal telling people that their breath smells. However, the funniest punishment is when Sal has to steal marijuana cookies when the lights go out at a focus group for the product. He hilariously has to deny it was him when the group becomes suspicious and he even blames another participant before leaving while acting under the influence. The departure of Joe Gatto has undeniably left a hole in the show which simply cannot be filled by guest stars, but this hasn’t affected the quality of the comedy in the series as the trio remain hilarious as they ever have been. As the show moves network and onward with Season 11, it remains to be seen if the show’s overwhelming success will continue. In the words of Q’s alter ego, Gunk out!

Published by Mason Oldridge, 30 July 2024 One time… at band camp… 25 years ago we were introduced to Jim, Kevin, Oz and Finch, four lads attempting to lose their virginity before graduating high school. A simple plot that would lay the groundwork for turn-of-the-century sex comedies. A world away from the 70s sex comedies like Confessions of a Window Cleaner a generation before, it paved the way for future films of the genre such as Road Trip, The Girl Next Door and Superbad, and spawned a franchise consisting of four main films and five spinoffs. So how did the film become the OG of its kind? Well, some of the best and most notable characters fall outside of the main four, such as Jim’s Dad, who is always on hand to provide awkward sex advice, the overly-confident nerd Sherman aka The Sherminator and of course the Stiffmeister himself Steve Stifler. There is also the recurring ending of Finch having sex with Stifler’s mum in what essentially birthed the MILF acronym. But it could be argued that the film series’ multiple key scenes elevates its legacy above the rest. The first film is undoubtedly remembered for its titular scene in which protagonist Jim gets intimate in the kitchen after being told sex feels like warm apple pie. What makes this scene so hilarious is how the screen cuts to the dessert left in shredded pieces before Jim’s Dad states “we’ll just tell your mother that we ate it all”.  However, the best moment comes when attractive European exchange student Nadia asks Jim for help studying. On the encouragement of Stifler, Jim sets up a webcam for all the boys to watch Nadia change (yes, this is clearly wrong, it is a fictional scene for comedic value and not condoned). To the guys’ euphoric surprise, Nadia begins to masturbate to Jim’s porn collection and Stifler suggests he walk in on her in the hope of getting some action. Nadia is responsive to this but requests Jim perform a strip tease. He then proceeds to conduct a hilarious dance to techno music as the viewers watch in both mockery and discomfort. The pinnacle comes as, when Nadia invites him on the bed, he prematurely ejaculates not once but twice. The embarrassing moment represents failed sexual encounters that are the driving force of the sex comedy genre. American Pie 2 sees the boys rent a beach house in the summer after college. With Nadia planning to visit Jim, he goes to band camp for sex advice from Michelle. However, when he is accidentally mistaken for the mentally disabled trombone player Petey, he goes along with the mistake and attempts to perform a trombone solo, along with some unconventional moves. This is not the only unfortunate event for Jim as he later mistakes super glue for lubricant, leaving him unable to have sex with Nadia. Though the funniest moment comes when, while the guys are painting a house, they mistake the two female tenants to be a lesbian couple. When the girls realise their misunderstanding, they play along as a prank and perform sexual acts on the condition that the boys then do the same with each other in a test to see how far they will go. Jim and Finch end it when it comes to giving Stifler a handjob, though Stifler is caught up in the moment and begins unbuttoning his pants, proclaiming he is “taking one for the team” in what is arguably the funniest quote from the entire franchise. The third film focuses on the wedding of Jim and Michelle and sees Stifler attempting to seduce Michelle’s sister Cadence by displaying a fake nice guy persona. There are an array of funny situations in the film such as the exposure at the proposal, the stripper scenario, Jim’s pubic hair ruining the wedding cake, Stifler inadvertently having sex with Jim’s grandmother believing her to be Cadence in the dark and the infamous scene when a dog eats the wedding ring but, once again, there is one moment that stands out from the rest as the most hilarious: Stifler’s dance-off at the gay bar. While on a quest to find a designer for Michelle’s wedding dress, they enter a gay bar and Stifler engages in a 80s-orientated dance battle with Bear, with some laugh-out-loud moves coming from the Stiffmeister. With an already established reputation from the first two films as well as playing the co-lead in cult classic Dude, Where’s My Car?, Seann William Scott only further cements himself as a comedy legend here. In the fourth and final film, the guys reunite 13 years on from high school graduation. Jim and Michelle’s sex life is hindered by their son, Kevin is now married, Oz is dating a supermodel and Finch has been travelling the world, while Stifler is unhappily stuck in a retail job. We learn early on that Stifler hasn’t matured as, when a group of teens steals Oz’s girlfriend Mia’s bikini top, Stifler exacts revenge by defecating in their cooler box and destroying their jet skis. Adding further strain on Jim’s marriage is Kara, a girl who Jim used to babysit and the girlfriend of AJ, one of the teens. She is turning 18 and attempts to seduce Jim, who has to rebuke her advances. However, when she passes out, he and his friends try to sneak her back into her parents house in another comedy-filled scenario. Whether you credit the plot, the characters, the origin of the MILF or the many hilarious moments with the film’s success, one thing is for sure: this film has stood the test of time to leave a lasting legacy as the OG of sex comedies.

Published by Mason Oldridge, 17 July 2024 Who lives in a pineapple under the sea? The question is as easy to answer as 2+2 as over the past quarter of a century, the lovable sea sponge has grown to become one of the biggest media franchises in the world. As the show celebrates its 25th anniversary, we take a look at what makes SpongeBob the ultimate cartoon. SpongeBob SquarePants follows the titular protagonist and his aquatic friends in the underwater city of Bikini Bottom. The show debuted in 1999 and was created by real life marine biologist Stephen Hillenburg. But what is the key to its success? I believe there are three factors attributed to its popularity, the first being the dynamic of the characters. SpongeBob SquarePants is a happy-go-lucky sea sponge with an enthusiastic and positive personality. He loves his pet snail Gary, his job working as a fry cook at local greasy spoon The Krusty Krab and spending time with his friends engaging in his favourite hobbies such as jellyfishing, bubble-blowing and karate. His best friend is dim-witted and lazy starfish Patrick Star. A loyal friend to SpongeBob (most of the time), he is also greedy and prone to angry outbursts. The two friends are very close and enjoy playing together in a childlike way, much to the annoyance of their grumpy and miserable neighbour Squidward Tentacles. It is the core dynamic between these three that creates the best comedy setups, particularly as Squidward lives in between them in the middle house and is also outnumbered 2-1 even though he is usually the voice of reason. Also, he works at the same restaurant as SpongeBob as a cashier and unemployed Patrick is a frequent diner there, forcing him to be in their company at work as well as at home. Squidward shuns their childish activities and prefers more high-brow interests; he fancies himself as a skilled clarinet player, dancer and artist, despite his many attempts in these arts going unappreciated by everyone around him. SpongeBob and Squidward’s boss is Mr Krabs, a cheapskate crustacean who loves money, which overpowers his moral compass, even at the expense of his teenage daughter Pearl, who is a whale. Despite overworking and underpaying him, Krabs has a soft spot for SpongeBob, again not pleasing Squidward. Mr Krabs comes from a Navy and pirate background. His business rival and former friend is Plankton, who runs the unsuccessful Chum Bucket across the street and consistently fails in his attempts to steal the Krabby Patty secret formula. Plankton is married to his computer wife Karen and finds his tiny size a difficulty in life. SpongeBob’s other friend is land squirrel Sandy Cheeks, who lives in an oxygenated treedome and enjoys high-octane sports and science. She wears an air helmet when leaving her treedome, as do her guests with a water helmet when visiting her. SpongeBob is also a learner driver, having failed his driving test multiple times, and is therefore a student at Mrs Puff’s Boating School. Mrs Puff is a puffer fish who also finds SpongeBob irritating and annoying, though partly as he is unteachable and frequently crashes, causing her to puff up and regularly require medical attention as a result of this. SpongeBob and Patrick enjoy visiting the local beach Goo Lagoon, where they are friends with gym buff lifeguard Larry the Lobster. They are also superhero fans, admiring local ageing superheroes Mermaid Man & Barnacle Boy. Another reason for the show’s triumph is the setting. Bikini Bottom is one of the best fictional animated locations ever. SpongeBob lives in a pineapple, Squidward lives in a moai and Patrick lives under a rock. The three houses are isolated on their own separate from the main town which allows episodes focused on the trio at home to be primarily unaffected by other characters or happenings. The interior of the houses are always fun to go in and it is particularly exciting to visit rarely seen areas such as SpongeBob’s library or garden rooftop. The Krusty Krab is ironically fashioned after a crab trap and features the dining area, the kitchen area, the toilets and Mr Krabs’ office. Sandy’s treedome often appears, sometimes getting to see inside the tree, while Mr Krabs lives in an anchor. Mrs Puff’s Boating School is another common building as we get to see both the classroom and the halls. Outside of the town is other nice places to visit such as Jellyfish Fields, an enchanting nature area where SpongeBob and Patrick go jellyfishing, Goo Lagoon, a beach where the residents often go and Glove World, the theme park where SpongeBob and Patrick have had many a day out. The final key to the show’s success is the traditional animation style used in the early days. Season 1 is the only season to use cel animation, meaning the show is produced with hand-drawn images rather than computer-generated imagery, creating a more authentic feel to the show. Furthermore, this draws comparison to 90s cartoons on Nickelodeon such as Rugrats, CatDog, Ren & Stimpy and Rocko’s Modern World, the latter of which Hillenburg worked on prior to SpongeBob. The production of the show has developed over the years, moving away from cel animation and switching to high-definition widescreen from Season 9, but a specifically nice touch that has remained throughout is the way that bubbles are incorporated in relation to underwater movement. SpongeBob has definitely declined in quality in recent years and it can be argued that the show has sold out ever since Hillenburg’s devastating death in 2018 as the series is now in its fourteen season and the franchise has branched out into spin-off shows such as Kamp Koral and The Patrick Star Show, allegedly against the creator’s wishes. With several more films in the pipeline and no sign of the main series ending, the production team should have protected such an amazing series. However, looking at the earlier seasons and the first film, SpongeBob SquarePants is the greatest animated series of all time and therefore the ultimate cartoon.

Published by Mason Oldridge, 21 May 2024 An Irish witch, Norwegian twins representing Sweden and a denim-clad nude Finnish man were just a few of the delights we were treated to at this year’s Eurovision, though the contest was ultimately cast in controversy. It is no doubt Malmö 2024 will be remembered for the EBU’s controversial decision to allow the inclusion of Israel amid the Israel-Hamas war, sparking several protests outside the arena with police on hand and hostility towards the Israeli representative, with allegations of anti-booing technology being used. The decision was felt to be hypocritical by some as Russia was excluded in 2022 following the Russian invasion of Ukraine; it is unclear whether this is because Ukraine is an EBU member whereas Palestine is not. Despite this, Israel was very popular at home, placing 2nd in the televote and 5th overall with Eden Golan’s ballad Hurricane. Furthermore, there was uproar when the Netherlands were disqualified despite qualifying for the grand final following claims of the Dutch representative threatening a member of the production team. However, despite the controversies this year, this didn’t stop Sweden putting on another great show. The contest was held in Malmö following Sweden’s win last year with Tattoo by Loreen. Hosting duties went to Eurovision veteran Petra Mede, having hosted the 2013 and 2016 editions, and Hollywood actress Malin Åkerman. Unfortunately, there was no appearance from modern Eurovision legend Måns Zelmerlöw, though the female duo did a great job. Switzerland won the contest, represented by Nemo with his rap cum operatic pop song The Code, detailing his non-binary identity. Going into it as one of the favourites, it is catchy from the first listen, features impressive operatic vocals and maintains innovative staging. The performance saw Nemo perform on a rotating and seesawing disc. The ability to sing opera with such vocal range while balancing on a spinning platform demonstrates incredible talent and made for a truly sensational spectacle! Unfortunately, Nemo appeared to use the platform to promote his non-binary support rather than represent his country, covering his national flag with a non-binary flag in the flag parade despite it being banned in the arena and calling for the recognition of non-binary as a third gender. Despite this, it was a worthy winner and, as Switzerland quickly started racking up 12 points from most countries, it became apparent it was near impossible for any other entry to catch up. Croatia came a close second and won the televote, represented by Baby Lasagna with heavy techno anthem Rim Tim Tagi Dim (the song was in English, the title is merely onomatopoeia, not Croatian). It appeared there were a few entries attempting to recreate the success of Finland’s Käärijä from last year but Croatia did so the best. An addictive hook, a singalong chorus, colourful staging and an energetic performance from Baby Lasagna himself on the night boosted the entry to popularity with the audience, having already been one of the favourites. Ireland sent a truly unique act with Bambie Thug and her electro-metal song Doomsday Blue. Along with a witchcraft-based performance, the song balances eerie verses and a loud pre-chorus with a dreamy chorus before erupting into a screamo outro set to a heavy beat. The vocal range is impressive and the performance is spellbinding (no pun intended). Another favourite, the entry saw Ireland qualify for the final for the first time since 2018 and achieve 6th in the final. The performance ended by displaying the phrase 'crown the witch', leading to a sweet moment in which Bambie gave Nemo the crown when he was announced as the winner, which he wore during the winner’s performance. However, like Nemo, Bambie also seemed to use the opportunity to promote transgender support, wearing the colours of the flag in her performance. Regardless, it was refreshing to see such a different act take to the stage and do well. Luxembourg returned to the contest 31 years after their last participation. It was pointed out that as the representative Tali was only 23 years of age, she wasn’t born the last time her country participated and therefore has never seen her country in Eurovision. Therefore, it was a particularly sweet moment to see Luxembourg qualify for the final and how much it meant to her. Her song Fighter, which features both the English and French language, ultimately placed 13th. EDM played a fair part in the contest this year. Twins Marcus & Martinus represented Sweden with their electro pop song Unforgettable, featuring a dance beat reminiscent of Faithless’ Salva Mea, Silvester Belt represented Lithuania with his light dance song Luktelk and Kaleen represented Austria with her 90s-inspired Eurodance track We Will Rave. Many countries incorporated traditional music of different cultures into their songs. Angelina Mango represented Italy with her song La noia which features elements of Latin American music, Marina Satti represented Greece with her song Zari that includes traditional Greek music, Ladaniva represented Armenia with their world music song Jako, while 5miinust and Puuluup collaborated to represent Estonia with their song that mixes hip hop and folk music. Novelty acts weren’t missed either. Joost Klein represented the Netherlands with his Eurodance song Europapa, a tribute to his father who told him the world has no borders. The song garnered popularity and became another one of the favourites before its eventual disqualification. However, it appeared Finland attempted to recreate its success of the year before with another novelty act, yet failed in doing so. Windows95man represented the country with his Eurodance song No Rules! The performance saw him emerge from a giant egg before performing seemingly naked with clever angles and obstacles obscuring his nudity. The fun and energetic act wasn’t too well received though and ultimately placed 19th. I think it was a massive shame that ABBA didn’t perform as the contest being in Sweden coincided with the 50th anniversary of their win, though the ABBA Voyage feature was the next best thing to celebrate it. Overall, despite all the controversy, Sweden put on a good show - after all, they now have the joint most wins - and the contest featured many brilliant entries and concluded with a worthy winner. Let’s see what the Swiss bring us in 2025!

Published by Mason Oldridge, 26 March 2024 “Nope, sorry, Kevin Bacon wasn’t in Footloose”. Set in the fictional New England town of Quahog, Rhode Island, the adult animated comedy from the twisted mind of Seth MacFarlane has spent much of its 25 year run creating laughs from its cutaways, from stubborn as a mule to Cookie Monster in rehab, though we may need to take a deeper look at the madcap characters of the show to further understand how Family Guy has been splitting sides for so long. The centrepiece of the show is Peter Griffin, an overweight and lazy blue-collared worker and family man. Despite being a ‘family guy’, Peter often engages in dangerous acts and stunts or goofs around for his own entertainment, such as his purchase of a brain-damaged horse. These often come at the expense of his long-suffering wife Lois, who is often left to clean up after his outrageous antics. We learn in Petarded that the husband and father-of-three actually has learning difficulties following a games night in which Peter plays with cards from the children's edition of Trivial Pursuit, a scene which birthed the infamous National Geographic special on firetrucks cutaway, as he struggles to identify the colour of “those red firetrucks”. Peter originally works at a toy company on the assembly line but, following an incident in which his boss chokes to death while round at the Griffins for dinner, he then tries his hand at being a knight and works briefly as a fisherman before his long-running job at the Brewery. After all, Peter is a heavy drinker with Irish heritage and loves spending his free time with his pals at local watering hole The Drunken Clam. This was explored in Wasted Talent when he visits a beer factory in a hilarious Willy Wonka parody and discovers he can play piano when intoxicated, much to the joy of Lois, who is a part-time piano teacher. When not teaching piano, Lois is a housewife and tends to keep Peter grounded. However, in Lois Comes Out of Her Shell, we learn she has a wilder side, similar to how she becomes addicted to shoplifting and realises her childhood dream of becoming a model in Model Misbehavior. Peter and Lois have three children together, who are often viewed as disappointments. Teenage son Chris is an unintelligible slob whose only hobby appears to be masturbation, whereas eldest daughter Meg is often the butt of many jokes. Bullied at school for being unpopular and ugly, she frequently feels the brunt of the family’s negativity at home too. Peter’s mistreatment of his daughter is often seen through his catchphrase towards her: “shut up Meg!” and his repeated farting on her. Somewhat of an abusive relationship, this still provides funny albeit dark moments such as Peter hitting Meg with a bat as a delayed reaction to intruders breaking in to the house in Untitled Griffin Family History and when Peter chastises Meg for vomiting in the kitchen after farting on her in The Tan Aquatic with Steve Zissou. Meanwhile, baby Stewie is an evil genius with plans to kill his mother and take over the world, while he also inhabits bisexual tendencies. He befriends Brian, the atheist liberal pothead anthropomorphic pet dog, who is an aspiring yet unsuccessful writer. Brian argues his religious beliefs in Not All Dogs Go To Heaven, expresses his political beliefs in Excellence in Broadcasting, attempts to legalise pot in 420 and sells out writing a self-help book in Brian Writes a Bestseller. The unusual friendship between these two was first explored in road trip episode Road to Rhode Island and found to be a working formula. Stewie owns and operates a time machine, allowing several time travelling episodes starring the twosome, and have travelled to the likes of Nazi Germany in Road to Germany, the setting sail of the Titanic in Stewie, Chris, & Brian's Excellent Adventure and outside of the space time continuum in The Big Bang Theory. However, it may be the eccentricity of the characters outside of the Griffin household that give further credit to the show, starting with Peter’s neighbouring pals. Hypersexual pilot Quagmire lives a sexually-liberating bachelor life, matched with his catchphrase “giggity”. The main source of sex jokes in the show, Quagmire never fails to deliver the laughs, particularly when a hoard of Asian women run out of his garage to which he reveals they are tagged in Airport ‘07, when he gains large muscles from masturbating after discovering internet porn in Family Goy and when he steals the body of his murdered date in And Then There Were Fewer. The neighbour on the other side of the Griffins is wheelchair-bound police officer Joe, who often provides comedy with his frequent angry outbursts, such as when the guys tease him for not finishing his steak in The Fat Guy Strangler and when Bonnie asks him to get all the tyre tracks out of the carpet when vacuuming in Cool Hand Peter. Across the road from the Griffins is softly-spoken African American Cleveland Brown. Cleveland is generally easy-going and mild-mannered, so much so that he even reacted passively and blamed himself when his first wife Loretta cheated on him with Quagmire in The Cleveland-Loretta Quagmire. He later leaves town with his son to reunite with his childhood sweetheart and later second wife Donna and her kids as the blended family become the premise of spin-off The Cleveland Show. Cancelled after four seasons, the new extended Brown family move back to Quahog. Other crazy characters in the show that make it what it is include Lois’ rich businessman father Carter who takes an instant disliking to Peter, Jewish pharmacist Mort Goldman, narcissistic news anchorman Tom Tucker, wacky Mayor West, the effeminate Bruce, incompetent Dr Hartman, peg-legged (and armed) fisherman Seamus and Herbert the pervert, a creepy old man down the street who has a sexual interest in Chris which goes seemingly unnoticed or acknowledged. Throw in a giant chicken and an evil monkey and you’ve got one seriously unique cast! The series may have demonstrated at times that the writers are capable of more complex storytelling, such as episodes like And Then There Were Fewer, Road to the North Pole, Brian and Stewie and The Big Bang Theory, but generally, if you want a half hour full of laughs, Family Guy has been doing so for a quarter of a century with no intention of stopping.

Published by Mason Oldridge, 30 January 2024 Bob’s Burgers has quickly risen up the ranks to join the likes of The Simpsons and Family Guy as part of Fox’s core Animation Domination programming block. However, where the others focus on a family full of squabbling and abuse towards each other, Bob’s Burgers breaks the mould with a more loving and caring dynamic… and proves it is still a winning formula. So how do The Belchers differ from The Simpsons and The Griffins? Homer Simpson is famous for the numerous occasions he has strangled his misbehaving son Bart and Meg Griffin is the primary butt of the jokes in the Griffin household, often at the hands of dad Peter with his trademark “shut up, Meg”. This trope might be outdated and overused in The Simpsons, Family Guy’s more deadpan approach keeps it funnier, though it is refreshing to see an animated sitcom succeed with an added layer of healthy relationships. Bob and Linda are happy, or at least content, in their marriage and storylines never really focus on any marital strain. It is apparent how much the parents care for their children Tina, Gene and Louise too; notably in the double-length Christmas episode The Bleakening. Upon discovering the kids have snook out on Christmas Eve, Bob and Linda are up and out to ensure their safety. However, the pinnacle of these healthy relationships is how the kids all get along with each other. Siblings fight and argue at the best of times in real life, and while this bickering is included in the show, what shines through is the love they ultimately have for each other. The kids often embark on adventures together, generally with a shared aim rather than pitted against each other. In A Fish Called Tina, Louise makes a touching speech about how much Tina means to her and Gene as a big sister, which she does as a distraction to allow Tina to escape from an embarrassing situation. In Drumforgiven, Louise exacts revenge on a music store owner who bans Gene from playing with a keyboard for sale, admitting her anger is because someone hurt her brother. In The Plight Before Christmas, Tina abandons her performance in a play to attend Louise’s poetry contest, in which Louise reads out her poem about her family. It can also be argued the show is family-centric as they all work at the restaurant where Bob is a third-generation restaurateur. He may have had his differences with his father in the past but Bob’s Burgers is nonetheless a family business that gives it that personal touch. The show also succeeds due to the unique personalities that each family member individually possesses too. Bob talks in a rather monotone voice which makes his angry outbursts all the more funny. This is usually caused by frustration with Teddy over some nonsensical topic or due to his rivalry with the owner of the pizza restaurant across the road Jimmy Pesto. Also, his passion for food can see him be overly caring at times, whether freaking out over a Thanksgiving turkey or whispering to his food and mimicking conversation. His wife Linda is an enthusiastic optimist who often sings about whatever is going on, with her bizarre remarks often rendering Bob stunned. Eldest child Tina is a socially awkward teen whose puberty-fuelled obsession with boys is hilarious. She probably has the strongest moral compass of the kids, leaving her uncomfortable in many situations, resulting in her iconic anxious groan and panting-like heavy breathing pattern. Middle child Gene loves music, often seen playing with the sound effects on his keyboard, and often states jokes or puns about what is being discussed. Youngest child Louise is feisty, mischievous and likes to rebel against the system. Many of the kids’ antics are masterminded and led by her, though behind her hard outgoing exterior is a soft, kindhearted centre. Louise’s appearance is defined by her pink bunny ears which she refuses to take off, reflecting her stubborn personality. Despite this, the setting too plays a key part in the show: the fictitious, coastal town of Seymour’s Bay. The restaurant is situated on a high street with the Wonder Wharf amusement pier at the end of the road, an attraction often frequented by the kids. The family live in their cosy flat above the restaurant, with many scenes taking place both up and down. In addition to these locations, the kids are often at Wagstaff, the school they attend, where they have encounters with their eccentric teachers, mainly the guidance counsellor Mr Frond. Animation is one of the strongest tools for providing escapism, as it can offer up a fantasy land that live action just can’t replicate in the same way, and this series serves up a fictional world that viewers can enjoy visiting without leaving their own homes. Arguably the most important element of an animated sitcom is the comedy and Bob’s Burgers definitely delivers the laughs. Funniest moments include Bob teaching Tina how to drive with disastrous results, Gene forgetting the name of the restaurant at a big advertising opportunity and Teddy thinking that Bob’s surname was Burgers. Overall, Bob’s Burgers delivers on comedy, setting and characters but above all it opts to showcase a loving and caring family as opposed to the usual formula used for TV families, creating a much more wholesome show with more of a reliance on story rather than gags. In the words of Tina trying to be spicy: see you soon, bitch!

Published by Mason Oldridge, 29 December 2023 “Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport.” Hugh Grant’s charming prime minister opens Richard Curtis’ Christmas classic with a monologue about love before the film delves into several intertwining stories featuring the ensemble cast on the titular theme, as well as heartbreak and loss. The romcom has faced criticism more recently for its lack of diversity, but here we take a look at the cleverly-overlapping plots to see how this London-set production, upon its 20th anniversary, is still some of cinema’s finest storytelling. Billy Mack and Joe Ageing and outdated rock star Billy Mack, brilliantly portrayed by Bill Nighy, is aiming for Christmas Number One with his Christmas rendition of Love Is All Around. It is impossible to not laugh at his swearing fit following his failed attempts at remembering the lyrics and it is a sweet moment when his comically outrageous persona that desires a hedonistic lifestyle gives way to appreciation for his manager Joe. David and Natalie Upon taking office, the new prime minister is immediately smitten with the ditzy but good-natured Natalie, played by Martine McCutcheon. The bumbling PM is often left embarrassed by his own actions due to his crush reducing him to feel like a lovestruck teen, but the pinnacle is when the maid catches him during his impromptu dance in a now infamous scene. This subplot transcends just a love story though, as when David catches the visiting sleazy US president (Billy Bob Thornton) inflicting unwanted sexual advances on Natalie, he makes an empowering speech about Britain and its strength and position in relation to the rest of the world. Jamie and Aurélia Colin Firth plays Jamie, a writer who discovers his partner is cheating on him with his brother. He embarks on a quiet writing retreat in France where he slowly falls in love with Portuguese housekeeper Aurélia. It is a beautiful story of how love can transcend language barriers and culminates in Jamie, now back in England, returning to France to confess his love for her, which is reciprocated during the grand gesture. Each other’s attempts to learn their language results in some hilarious mispronunciations too. Juliet, Peter, and Mark Peter and Juliet (a young Keira Knightley) get married and the wedding is recorded by Peter’s best man Mark (pre-Walking Dead Andrew Lincoln), who is distant and unfriendly towards Juliet. It is believed Mark dislikes Juliet, though when she reviews his footage in his presence, we see he predominantly captured her, revealing he is in fact in love with her. He awkwardly explains his coldness was self-restraint and leaves. It may be the cue card scene that became iconic though the scene in which Mark wanders around, frustrated and upset, set to Dido’s Here With Me, is arguably the most emotional piece of film ever and Lincoln’s vulnerable performance deserves the highest praise. Harry, Karen, and Mia Another love triangle sees Harry (Alan Rickman), who is married to Karen (Emma Thompson), receive sexual advances from his younger secretary Mia. After resisting temptation, Harry concedes and buys Mia a necklace while out on a shopping trip with his wife. In an iconic scene, shop assistant Rufus (cameo by Rowan Atkinson) pays excessive and time-consuming detail to packaging the item after asking "would you like it... gift-wrapped?" Rickman is hilarious as a stressed Harry rushes him to finish before Karen sees it. In a heartbreaking later scene, Karen, expecting the necklace for herself, struggles to hide her hurt when she instead receives a Joni Mitchell CD, knowing the necklace must be for someone else. No happy ending for this one as the couple consequently separate. Daniel and Sam Liam Neeson stars as heartbroken widow Daniel, who is left to care for his stepson Sam (Thomas Brodie-Sangster). In the funeral scene, a teary-eyed Neeson gives a stellar performance. Sam is mute following his mother’s death and as Daniel attempts to get him to open up, he learns that Sam is lovesick, harbouring a crush on one of his classmates. The two then bond over devising a plan for Sam to woo the girl, culminating in a dramatic airport chase before she leaves for America. Sarah, Karl, and Michael In one of the sadder subplots, Sarah, played by Laura Linney, nurses a crush on co-worker Karl. She summons up the courage to ask him on a date, to which he is mutually interested, though they are continuously interrupted as Sarah has to care for her mentally ill brother Michael. There are some hard-hitting scenes that are difficult to watch and hinders the bittersweet feel across the movie. John and Judy In a much more upbeat subplot, John and Judy (Martin Freeman and Joanne Page) are stand-in actors, often performing in sex scenes. It is hilarious to see the couple engage in smalltalk while performing such intimate moments, and while they are perfectly fine doing so on camera, they are actually shy off-camera as they are attracted to each other. He eventually asks her out and they begin a relationship. The funniest moment occurs, however, when John thoughtfully warms his hands before touching Judy’s breasts.   Colin In a minor subplot primarily for comedic value, kindhearted Colin (Kris Marshall), the self-proclaimed “God of Sex”, longing for a girlfriend, hatches a plan to find one in America after several rejections in England. Despite his friend’s scepticism, Colin remains optimistic, believing American girls will be attracted to his English accent. Funnily enough, upon arrival, Colin immediately meets several women in a bar and is invited to their place where they engage in amorous activities. Through these loosely interwoven tales, romance, drama and comedy is delicately balanced, making for an enchanting and moving end result. Had more diversity been present, the film would have only fallen victim to tokenism instead. This standout romcom proves that not every minority group needs to be represented to tell an array of different stories with a wholesome feel to them. “If you look for it, I’ve got a sneaky feeling you’ll find that love actually is all around.”

Published by Mason Oldridge, 29 November 2023 Britain. Britain. Britain. Believe it or not, it’s been 20 years since Tom Baker first uttered those opening words on what would become one of Britain’s most successful sketch comedy series. But whether it feels like a lifetime or five minutes ago, times have certainly changed since its airing and the beloved show has become the ultimate victim of cancel culture. Cancel culture sees us living in an era in which something that can be regarded as offensive is effectively removed or someone saying something offensive is basically shunned from society - essentially the modern day equivalent of being made an outlaw. A black sheep whom we mustn't speak to, reference or, Heaven forbid, defend and support. The snowflake generation has bred a world where right-wing ideology has shifted from being a mainstream standpoint to a controversial characteristic that is frowned upon. However, defenders of free speech, including the British government, are fighting back with a so-called ‘war on wokery’ which largely impacts comedy. Comedian Ricky Gervais is a pioneer of this and arguably the single strongest force against cancel culture we have in relation to comedy. He said “offence by definition is subjective - I don't think you can say a joke is offensive” and how “you have to say I found that joke offensive”. He went on to say “just because you're offended doesn't mean you're right” and that’s where a lot of the issue arises from. People misconstrue their opinion and pose it as a fact. It’s what it is, not what they believe. Little Britain takes a madcap look at British society with creators and writers David Walliams and Matt Lucas performing all the main characters. These include caretaker Lou and fraudulent wheelchair-user Andy, the antisocial teenager Vicky Pollard, flamboyant Welsh lad Daffyd Thomas who falsely proclaims to be ‘the only gay in the village’, cross-dressers Emily and Florence, obnoxious Marjorie Dawes who runs a weight-loss programme and the camp Sebastian: assistant to the Prime Minister. Skits involving Lou and Andy typically see the faking paraplegic opting for a ridiculous decision despite Lou advising against it, only for Andy to instantly regret his poor choice. The gag is that this generally inconveniences Lou more than it does Andy, who confirms his decision using his catchphrase “I want that one!”, one of many turns of phrases in British life that has been born out of the series. However, other sketches see Lou having to cater to Andy’s disability requirements, with Andy then standing up and partaking in some physical activity while Lou’s back is turned. Throughout the series, this has included diving at a swimming pool and beating a gang of bullies. Andy then manages to return to his wheelchair just in turn for Lou to turn around hilariously oblivious. As touched upon before, it is interpretation that can cause issues with how material is viewed as offensive. This individual character is not representative of the disabled community and is not presenting taking advantage of our generous benefits system as a stereotype. On the other hand, characters such as Vicky Pollard and Daffyd Thomas are actually taking aim at the stereotypes of ‘chav’ and ‘gay’ respectively by exaggerating them as opposed to suggesting they are accurate. Furthermore, an overweight character leading a weight-loss programme who fat shames its attendees is employing irony rather than stereotyping, though in a cancel culture, this is likely to be confused. Cross-dressers Emily and Florence have caused particular controversy, though this is simply making a joke of two men who are particularly bad at their hobby and compensate by highlighting their attempt to appear as the opposite sex and makes no explicit statement on transgenderism, something which is totally separate. The show never links the two but rather the oversensitive world we find ourselves in does. It is not just representation that the show has been attacked for but also the methods used. Blackface, a common practice throughout history, is now deemed unacceptable. Both Walliams and Lucas have used blackface to portray black characters in the show. Again, they are not providing any comment on the black community or mocking them but simply using blackface as a means of portrayal. It is worth noting that the comedy film White Chicks never created any uproar, despite the African-American Wayan brothers using whiteface to dress up as not only the opposite race but also the opposite gender and do so in a derogatory manner. Also, nothing has been said about Anthony Hopkins using blackface to portray the titular protagonist in Shakespeare’s Othello. Could this be to do with the fact that the latter doesn’t contain toilet humour? So how do we resist a woke takeover? Unfortunately, the pair haven’t defended their past work as well as they could have. In 2017, Lucas said he “wouldn't make that show now” but didn’t express regret and explained their attempt at playing a wide range of characters. However, fast forward three years to 2020 when the woke brigade was in full force and thus came the removal of the show from several streaming services. Instead of defending their work, the duo apologised, saying “we want to make it clear that it was wrong and we are very sorry” as well as publicly retiring the characters of Emily and Florence in reference to the changing attitudes. In the vein of Gervais’ comments, what makes it wrong? Based on societal views, it wasn’t wrong at the time so can it really be retrospectively wrong? Sure, some jokes are particularly edgy but that doesn’t justify removal. Whereas Gervais uses his work to explain the concept of offence, which often forms part of his stand-up routine, Walliams and Lucas have submitted to the backlash, likely out of fears of being cancelled. After all, this is what cancel culture does: pressures one into conforming to wokery using the threat of cancellation. This was further supported by Walliams’ departure from Britain’s Got Talent in 2022 following the reveal of a private conversation he had about some of the performers. In the same year, Little Britain was returned to streaming, albeit edited versions with entire removals of some characters. Censorship is one of the biggest threats against free speech but this issue stretches beyond a comedy series. Not only is free speech at risk but we are beginning to see the eradication of history preservation. However, Little Britain maintains a stronghold on daily life here; a device can’t malfunction without the user proclaiming “computer says no”. The show may have come under fire in cancel culture but, luckily for fans of the comedy, it also has too much a place within British culture for its legacy to fade. For now…

Published by Mason Oldridge, 3 October 2023 The subgenre of the adult animated comedy gets a bad rap, stereotyped as defined by toilet humour and childish gags. However, the adult animated comedy actually shines a light on topical content like no other and deals with controversial subjects in a truly unique manner. A pioneer of the genre, The Simpsons debuted ahead of its time in 1989 and grew to become known for regularly predicting the future, notably 9/11 and Trump’s presidency. Ten years later, Family Guy debuted in 1999 and became a cult classic among young adults, growing to touch upon difficult topics, though it was in 1997 when a show came along that delivered political and social commentary in a truly surreal way: South Park. South Park’s madcap and daring methods of portraying such commentary has led to the show being shunned as offensive, seeing other media take credit for delicately handling such content in a more mainstream and acceptable manner. South Park focuses on the four schoolboys and the crazy characters in their fictional town of South Park, Colorado, based on the real area of the same name. The show made a name for itself from its gross-out humour and crude vulgarity, though the creators defended its use as a more accurate representation of the rude behaviour of children as opposed to the positive yet unrealistic child role models previously seen on television. So what is it about South Park that makes its commentary truly special? Well, where most US entertainment is dominated by the liberal media, South Park takes a libertarian approach to its satire. The creators have expressed dislike towards both ends of the political spectrum, resulting in them taking the perspective of an outsider looking in and having a fair crack at both viewpoints of several debates. Critics have placed the show closest to the term ‘libertarianism’, meaning they take a more conservative view on political issues and a more liberal view on social issues. Controversy arose particularly in Season 4 with the introduction of new character schoolboy Timmy. Timmy is disabled, bound to his electric wheelchair with what seems to be a combination of cerebral palsy and tourettes, randomly shouting out his name. The boys like Timmy and treat him as an equal, though the adults accuse them of laughing at him. The character highlights how the issue is that people treat the disabled differently under the guise of supporting them which is what actually alienates them in the first place. A fan favourite episode hails from Season 8: ‘Goobacks’. The episode focuses on immigration, but rather than having foreign immigrants, it sees time travellers travelling back from their poverty-stricken future to modern day South Park, where they take up all the jobs by working for minimal wages. The episode balances the argument well; at first, the townspeople are welcoming of the immigrants and sympathetic towards the difficult circumstances they have come from but grow tired of them when they overcrowd the schools and take up all the work. However, the greatest aspect of the episode is the parody of redneck culture which spawned one of the show’s most famous catchphrases. Darryl and his redneck followers organise a rally in protest of the immigrants, ranting about them and proclaiming “They took our jobs!” which is repeated among the crowd in ever-growing Southern accents until only audible groans are heard. The rednecks conclude that the only way to fix the problem is to stop the future from happening; after Darryl angrily dismisses global warming as a ridiculous way of doing so, they claim the only way to do this is to all turn gay and therefore stop future generations from being born. A particularly notable example of satire in the show is ManBearPig from Season 10. The episode sees former vice president Al Gore warning the residents of South Park about a dangerous creature that is “half man half bear and half pig”, a description of which no-one sees the mathematical error. A metaphor for global warming, none of the townsfolk are worried about the threat and in fact don’t believe in it. The episode pokes fun at Gore, seeing him appear to the kids with a creepy mask and repeatedly getting upset at the lack of attention, proclaiming he is super serious, or “super cereal” as he pronounces it. Ultimately, the episode ends with no proven existence of the being, though proves to be real in later episodes following the creators’ changing attitudes on climate change. Out of all the episodes, the holy grail of satire is the Season 6 episode ‘Red Hot Catholic Love’. Parodying the sexual abuse scandal within the Catholic Church, the town’s priest Father Maxi attempts to expose the abuse, only to find the clergymen are more concerned about how to keep their illicit affairs quiet. The issue is presented in an exaggerated manner, with the Vatican congregation in uproar at suggestions of changing the holy document of Vatican law to condemn sexual acts with the children and even more so at a substitute of sexual relations with their wives instead. Meanwhile, the townspeople are horrified by the scandal and respond in the most bizarre way possible: converting to Atheism. It is presented that the scandal isn’t representative of the Catholic faith, claiming that the Bible stands to help guide people through life and encourage positive behaviour and it is when people interpret the Bible too literally that scandal emerges. In doing so, the episode has also criticised the narrow-mindedness and naivety of Atheists. Therefore, a seemingly-liberal and anti-religious episode that attacks the sexual abuse scandal within the Catholic Church has actually honoured the Conservative counterpoint that Catholicism originally supports good behaviour and offers guidance and Atheism can support pejorative attitudes. This episode alone singlehandedly elevates South Park on the metaphorical pedestal of satire and anyone who just sees toilet humour is not educated enough to scratch beneath the surface to see the layers of its meaning. The show may no longer be in its golden age but the recent episodes focusing on areas such as PC culture, Trump’s presidency, internet trolling, school shootings and the coronavirus pandemic proves it can still provide commentary on current topics and shall hopefully continue to do so in the future. As we navigate our way through an ever-growing crazy world, South Park will hopefully always be there to provide a unique satire of whatever is going on.

Published by Mason Oldridge, 23 May 2023 Eurovision legend Graham Norton opened this year’s commentary with “welcome to the United Kingdom… from the United Kingdom”. He, along with millions of fans, were truly excited to see Eurovision hosted in the UK for the first time in 25 years. As last year’s winners Ukraine couldn’t host due to the Russian invasion, the United Kingdom was given the privilege as second place. The journey to Liverpool began with the 2022 edition. TikTok star Sam Ryder was chosen to represent the UK with his perfect pop song Space Man. In his sparkling jumpsuit, aided by epic lighting and staging, he gave the performance of a lifetime to uproarious applause. In a contest dominated by Ukraine, he broke the UK’s curse of last place and being the target of geopolitical hatred to top the jury vote and come 2nd place overall. Characterised by catchy music and incredible falsetto on the chorus, Space Man launched Sam Ryder’s wider career as well as bringing the world’s largest music competition to the UK. With several bids from various locations, they were whittled down and shortlisted until Liverpool was eventually chosen as host city. Despite this, the contest promised to pay tribute to Ukraine with an ode to Ukrainian culture throughout. Hosting the shows were British actress Hannah Waddington, who was able to provide the French translation (she jokingly commented “you see, Europe, some of us Brits do bother to learn another language” in the first semi-final), Ukrainian rock singer Julia Sanina from The Hardkiss, who represented the Ukrainian element of the show, and British singer Alesha Dixon, who was chosen for some unknown reason as she has no ties to the contest or has ever expressed interest prior. Celebrity superfans Scott Mills and Rylan Clark commentated on the semi-finals as per usual, though it would have made more sense for them to take the valuable spot that Dixon had. Joining the presenters for the Grand Final was Graham Norton, who we’d been told would be splitting his time between the commentary booth and the main stage. Mel Giedroyc lent their voice while Norton was in front of the cameras, which was more often than assumed as he co-presented the entire results with Waddington while the others were in the green room. It was heartwarming to see Norton get his fair share of screen time after being a staple of Eurovision in the UK for such a long time. The show was opened by last year’s winners Kalush Orchestra, who performed their winning song Stefania as well as their new single Changes. The flag parade was set to some epic British classics such as The Chemical Brothers’ Hey Boy Hey Girl and Blur’s Song 2, with interludes of past Ukrainian entrants such as Go_A and Verka Serduchka. The running order began with fun entry Who The Hell Is Edgar by Teya and Salena for Austria. The catchy dance song about the ghost of Gothic writer Edgar Allan Poe made for a great start to the performances. The final provided a strong mix of genres as always; there was electronic from Serbia with Samo mi se spava by Luke Black, disco from France with La Zarra’s Évidemment, metal from Germany’s glam rockers Lord of the Lost with their fantastically loud track Blood & Glitter and a beautiful piano ballad from Estonia’s Alika with Bridges. Australia’s Voyager got the room excited with their multigenre track Promise, blending dance, rock and metal. Czechia’s female folk group Vesca also championed this by blending their traditional sound with modern pop to make for a unique and enjoyable performance. Croatia provided a novelty act with long-running and controversial shock rock band Let 3, who performed their outrageous anti-war song Mama ŠČ! Female pop was at its finest this year and dominated the show. Blanka from Poland performed her catchy pop song Solo, which drew similarity to SloMo by Chanel from Spain last year, Alessandra from Norway delivered her female empowerment track Queen of Kings, Noa Kirel of Israel provided a strong performance of her song Unicorn, which contained a show-stopping dance break, and the UK’s very own Mae Muller closed the running order with her dance-pop breakup anthem I Wrote a Song. Muller’s vocals sounded weak on the night in contrast to the studio version; it is unclear whether there were audio issues but this surely hindered her success and impacted the final result. However, there were two acts that stood out as frontrunners. The favourite from the start was Sweden’s Loreen, returning after winning in 2012 with her international hit Euphoria, with her new emotional entry Tattoo. Then there was Finland. Käärijä was the other one to watch with his hyperactivate tech banger Cha Cha Cha. If there was one act that sparked something in the crowd, this was it. As voting opened, on came our Eurovision saviour Sam Ryder to perform his new single Mountain, joined on stage by an ensemble including Queen drummer Roger Taylor. The performance, as always guaranteed with Ryder, was incredible and appeared to really draw the attention of the audience. This was followed by The Liverpool Songbook, a selection of previous notable entrants performing their take on classic Liverpudlian hits. This included both past winners such as Netta and Duncan Laurence but also provided a welcome return for high-scoring non-winners such as Mahmood, Daði Freyr and Cornelia Jakobs, whose waterbed performance, matched with her husky voice, was the standout. Nervous entrants awaited in the green room as the results commenced. This year marked the first time that non-participating countries could vote as part of the collective Rest of the World. As the jury results progressed, the influence of Loreen became clear as Sweden received an overwhelming amount of 12 points which would be hard to override with public votes. Finland won the public vote though came second overall to Sweden, who frankly couldn’t be caught up. Female pop provided some success too as Israel came 3rd and Norway 5th, with Italy in 4th. However, some things don’t change as Germany came last and the UK’s success last year proved to be a one-off as they returned to the bottom of the board in second to last. Muller’s disappointing result has been attributed to the sound issues as well as being overshadowed by Ryder’s performance. Unfortunately, it appears that geopolitics still exists in the contest, consistently penalising the two bottom countries. Throughout the voting process, the audience chanted Cha Cha Cha, proving there was more love for Käärijä in the arena, which also reflected public opinion. There were many cries that Finland was robbed and it can be argued that Sweden won because of Loreen’s existing popularity with her previous winning song and professionals wanted the contest to be held in Sweden next year to mark the 50th anniversary of ABBA’s victory. Regardless, Loreen became only the second entrant to win the contest twice and also means Sweden now ties with Ireland as the country with the most wins, which better reflects modern Eurovision. The main feeling coming away from this year's contest is disappointment that Käärijä didn’t win but it isn’t the first time and it won’t be the last time the results are unsatisfying. Despite this, the UK put on a good show and here’s to many more. Onwards to Stockholm 2024!

Published by Mason Oldridge, 21 February 2023 Bazinga! The Big Bang Theory is undoubtedly one of the best sitcoms, and indeed TV series in general, to ever grace our screens. It tells of four intellectually brilliant yet socially clueless scientists Leonard, Sheldon, Howard and Raj, and their eventual journey from an introverted group of friends immersed in nerd culture to confident men with their respective partners. Set in the heart of liberal California, there are PC jokes aplenty yet also a decent offering of risqué wit in the form of Howard’s creepiness and racial impressions, cheeky stereotypes and unintentional offensiveness from Sheldon’s devoutly religious Texan mother. Throughout its 12 season run, the show covered a lot of ground, but also crashed to the ground sometimes too. Undeniably, Season 1 is comedy gold. Back then, none of the boys had girlfriends and Leonard was no further than pining over new neighbour Penny, meaning the guys were in peak nerd mode. From Leonard’s panic attack over contemplating sex with Penny, the ridiculousness of Sheldon’s white lie and the extreme extent the guys go to to avoid looking after Sheldon when he’s sick to Sheldon’s competitiveness in the physics bowl competition and Howard’s allergic reaction, the first season is full of hilarious moments. In the season finale, Leonard finally plucks up the courage to ask Penny out on a date, beginning an on-off relationship that serves as a central point to the show. One of the sweetest moments in the series is when Penny admits her feelings for Leonard in the Season 2 finale before he departs for the North Pole and, from their second run together beginning in Season 5, it soon becomes apparent how much Leonard and Penny love each other. Therefore, it is ridiculous that Leonard cheats on Penny while on a work trip. In the Season 7 finale, Leonard departs for an expedition in the North Sea over the summer and Leonard confesses to Penny on the way to their shotgun wedding in the Season 8 finale that he drunkenly kissed a colleague. Not only has he cheated on her but he kept it a secret for a whole year, only admitting to it as they agree to enter their marriage with no secrets. Furthermore, Leonard often starts an argument with Penny and is quite harsh in his words; examples include when Leonard is uncomfortable with Penny’s male friend staying on her sofa and when Penny is angered by her ex proposing in the restaurant they are dining at. It is a running gag that Penny is more attractive than Leonard and they split up in Season 3 due to Leonard being further along in the relationship than her. Although the coupling becomes more equal later on, it is still widely unrealistic that Leonard would stray, undermining the authenticity of their relationship. We see a lot of personal development in Penny throughout the seasons as she goes from an aspiring yet failing actress working as a waitress at the Cheesecake Factory to being a successful pharmaceuticals sales representative. Penny realising she doesn’t need to be an actress to be happy and proposing to Leonard is a pivotal stage in this development, as well as a sweet moment to watch. Despite having progressed from waitress to barmaid, Penny later becomes a sales rep, suggesting she needs a successful career to be happy too, which feels a shame given her previous revelation. Additionally, it is briefly referenced in the show that Penny doesn’t want children and has no maternal instincts. This is seen as a powerful statement in the feminist movement, a stand against the expectation of a woman desiring motherhood. Unfortunately, the writers opt to satisfy Leonard’s desire of fatherhood instead as Penny reluctantly agrees with Leonard being a sperm donor for Penny’s ex Zack and, after that falls through, Penny reveals she is pregnant in the series finale. Sheldon and Amy’s relationship sees both become more socially confident. Amy has a positive influence on Sheldon and, despite being a drastic overhaul from the robotic woman we are introduced to in the Season 3 finale, she comes out of her skin thanks to her friendship with Penny. Sheldon gets better at identifying and performing social convention that had previously eluded him and, while there’s heartwarming moments such as his first kiss with Amy on the steam locomotive, the writers continue this trajectory too far, reaching unrealistic levels with Sheldon and Amy having sex in Season 9 and Sheldon, as the narrator of spin-off series Young Sheldon, reveals he and Amy have a child in the future. It is also somewhat illogical that Sheldon and Amy would move across the hall as the apartment was Sheldon’s before Leonard moved in. However, Sheldon’s character is the key to the show’s success; Jim Parsons is perfect as the eccentric and arrogant manchild. While his childishness and camp persona can be frustrating at times, it is his abrupt rudeness and outspoken bluntness that makes for some of the funniest moments. The personal development the writers perfected was Howard. We see the engineer grow (in personality, definitely not height) from a creepy loner always hitting on women to being a husband, father-of-two and astronaut. Howard puts his days of building sex robots and regular visits to HR behind him to become a better man and we are fully behind it. When Raj drunkenly tells of Howard’s sexual past at his bachelor party in Season 5, Bernadette gets cold feet, leaving Howard to make an impromptu speech about how he has changed thanks to her in what is the most emotional scene of the entire series. Further tearjerkers come in Season 7 when Howard, along with the help of the gang, performs a song dedicated to Bernadette while she is quarantined and Season 8 when Howard’s mother passes away. It seems Raj is on a similar path when he overcomes his selective mutism in the Season 7 finale but this isn’t the case. Throughout the series, Raj is known for being unlucky in love and has many girlfriends for brief stints in the latter seasons. In Season 12, Raj begins dating Anu and it finally appears Raj has found his match… until the end of the season when she moves to London for work and Raj becomes single again. This felt an unnecessary move as it sets him up for a successful relationship but ultimately sees him end with the same relationship status as when the show started. Outside of the main group, secondary characters are a definite strong point of the show. Stuart, the depressed and down-on-his-luck comic book store owner, is a hilarious character due to the dark comedy arising from his unfortunate life situation. Additionally, his character is explored further when he becomes a third-wheeling lodger and live-in nanny with the Wolowitz’. Other comical characters include Sheldon’s sleazy rival Barry Kripke and a bizarre fictionalised version of Star Trek actor Wil Wheaton starring as Sheldon’s nemesis and later friend. There is bound to be a lot of pressure when it comes to wrapping up such a popular series but it is safe to say the writers did a superb job. Leonard comes to terms with his relationship with his mother and forgives her, Sheldon and Amy win the Nobel Prize, the elevator is finally fixed and Sheldon acknowledges he hurts his friends feelings and personally honours each one in his acceptance speech. All this before one final scene of the gang gathering in the original apartment to eat dinner like they famously have in so many scenes before.

Published by Mason Oldridge, 4 November 2022 As streaming giant Netflix celebrates its 25th anniversary, we take a look back at some of the platform’s best Original series from recent years that had just a singular run, whether a miniseries or cancelled after one season. The Society (2019) One of the best mysteries to ever grace the streaming service, The Society sees a group of teens head off on a school trip after their town is invaded with a noxious smell, only to return to find everyone gone. I find it comical how the first thing the students do is party, though the coming-of-age element is enhanced as a jock falls into depression, romance blossoms between polar opposites and a pregnant student is supported by her peers. However, self-proclaimed leadership angers some of the townsfolk with crime breaking out. A justice system is then subsequently created, resulting in the death sentencing of a suspect. Even more compelling to the story is the tense scenes between the psychopathic Campbell and his outcast girlfriend, which are bound to leave viewers anxiously gripped. Despite its popularity, the series was cancelled after one season due to the pandemic and while the ending provides the shocking insight that the townsfolk elsewhere mourn the loss of the students as though in an alternate universe, we unfortunately never find out what the smell was or how they got there. The I-Land (2019) Ten strangers find themselves on a desert island with no memory of who they are or how they got there. Personalities soon clash as they attempt to discover their identities and location. The answer does not disappoint as it is revealed they are prisoners on death row at a Texas correctional facility in a simulation to see if they can be rehabilitated. While the results are mixed, questions of morality are thrown up as the warden attempts to corrupt the experiment by provoking the subjects, in particular sending two officers in via avatars. The ending is very satisfying with the tables turned as protagonist Chase is freed and the warden is entered into the program. This limited series makes you think while also scoring on entertainment value. The Queen’s Gambit (2020) A drama miniseries about chess may sound like a boring plot but The Queen’s Gambit is a delightfully interesting story about young chess player Beth Harmon, who begins playing in with the basement of her orphanage with the custodian and works her way up to become a champion. From the state-mandated pills at the orphanage to her troubled adoptive mother, Beth battles addiction throughout her journey. She befriends US champion on her way to defeating the Soviet World Champion, which forms the basis of the conclusion. There are no twists involved in the plot yet somehow the series is so encapsulating with its storytelling and intriguing characters, with particular praise earnt by lead star Anya Taylor-Joy. The fact that such a dismal-sounding synopsis turns out to be such an enthralling story is a true merit to the production and the cast. Clickbait (2021) Nick Brewer appears in a viral video holding a sign saying “At 5 millions view I die”. He was previously shown holding a sign stating “I abuse women” leaving viewers unsure on whether Nick is a good guy or a villain. In a surprise early twist, Nick is found dead in just episode two. The initial investigation that pursues, with each episode focusing on a different character, is somewhat mediocre but the reveal at the end drastically improves the overall quality of the series. It is revealed that Nick’s elderly colleague Dawn has been catfishing several people for nothing more than entertainment in response to her husband’s inattentiveness. His supposed mistress never actually met Nick and was catfished the whole time by Dawn. Furthermore, it was Dawn who goaded another woman Sarah to commit suicide and so Sarah’s brother Simon made and posted the video after believing it was Nick who prompted her suicide, though let him go after proven innocent. Upon realising, Nick confronted Dawn, who then murdered him. Nick’s youngest son is held captive in the finale by Dawn and her husband when he gets too close to the truth and as the police mount the scene, Dawn surrenders and her husband, who refuses, is shot. Clickbait provides one of the best endings to a series ever in a complex connection between characters and their actions in a scary warning about social media and online anonymity. Archive 81 (2022) This supernatural horror series sees conservator Dan hired by the mysterious Davenport to restore some old tapes from 1994 which document student Melody’s dissertation on a fire at the Visser apartment building. Dan is sent to an isolated research facility without reception due to the tape’s poor condition and is soon unsettled to find security cameras watching him. He discovers that Melody stumbled upon the Visser residents worshipping a statue of a god-demon hybrid called Kaelego and are part of a cult who intend to use teenage resident Jess as a human sacrifice. Furthermore, Dan discovers the cult’s meeting room at the research facility, revealing the compound is built on the former premise of the Visser. The already eerie plot takes a creepier turn as Dan and Melody meet each other in time-jumping scenes and Kaelego attempts to reach Dan through the screen. As Dan attempts to rescue Melody, the final scene sees Dan wake up in a hospital bed in 1994 as the TV reports on the recent news of the Visser fire. The tension mixed with the intrigue and shock leaves Archive 81 as one of Netflix’s best series ever, yet was cancelled after one season despite its high viewing figures. Pieces of Her (2022) This thriller series starts off with a mother and daughter duo Laura and Andy witnessing a mass shooting at a diner. When Laura kills the shooter, Andy, on her mother’s orders, escapes on a cross-country trip to safety while finding out about her mother’s hidden past. The initial journey isn’t all too thrilling but the series develops via the flashbacks, revealing Laura is actually Jane Queller, the daughter of a wealthy business owner who falls in with the wrong crowd and begins dating Nick, the leader of terrorist group Army of the Changing World, before turning against him. In the present, we learn Jane is in witness protection with Andy. The finale brings with it action as adult Nick, having spent his life on the run, visits Andy, who is his biological daughter. Toni Collett may have received praise for her performance by the critics but the true star of the show is Jessica Barden for her portrayal as vulnerable young Jane, which draws comparison to the vulnerability she displayed in The End of the F***ing World.

Published by Mason Oldridge, 30 September 2022 As Better Call Saul airs its finale and brings the 14-year franchise to a close, we take a look at the neo-Western crime drama. From the mild-mannered high school chemistry teacher Walter White to the badass drug kingpin Heisenberg, here’s why Breaking Bad and Better Call Saul is the greatest TV franchise of all time. The plot itself is a primary reason. When overqualified chemistry teacher Walter White is diagnosed with terminal lung cancer shortly after his 50th birthday despite never having smoked, he decides to break bad and use his skills to cook crystal meth to earn some money for his family. He teams up with former student Jesse Pinkman, who knows the business and can help with contacts. The first meet goes horribly wrong and it is an escalating situation from there. What makes matters all the more ironic is that Walt’s brother-in-law Hank is a DEA agent investigating the case the whole time too. Walt teaches his class that chemistry is “the study of change”. What is so clever about this show is that it focuses on the change of Walt. It takes audiences through the transformation of this character and it does it well. Walt’s first kill is unavoidable as it is literally to save his life and he vomits with guilt. Walt’s last kill is a group massacre by his handmade machine gun against a white supremacist neo-Nazi gang who he went into business with and have enslaved Jesse. Not long before this, he has ten prisoners brutally murdered to keep them from incriminating him. Bryan Cranston is known to have won several awards for his role but each one was well and truly deserved for his kind-hearted family man and hardened criminal mastermind portrayal. Cranston may be the star of the show, but it is the array of complicated and layered characters that make the franchise so entertaining. Where Walt’s ego and bigheadedness causes a lot of the situations he and Jesse find themselves in, Jesse’s soft centre is to blame for many. He may be a small-time drug dealer but when he and Walt step up their game, he struggles to cope. His encounter in Peekaboo shows us his soft spot for children which hints at the pinnacle of the downfall of their partnership. It is his caring towards children that interrupts their working relationship with Gus when he goes after the street dealers using children and he turns against Walt due to his poisoning of Brock. After one too many black eyes, murdered girlfriends and his captivity by Jack, Jesse finally gets the fresh start he deserves in Alaska. Walt and Jesse are polar opposites, a recipe for a successful show in itself, though it is their onscreen chemistry that makes them TV’s greatest duo. Jesse’s immaturity plays well off Walt’s intellect and the twosome are often comedic in their world of dark subject matter, making them a thoroughly entertaining pair to watch. Saul is the third wheel of the duo as he earns his fluctuating percentage in their business arrangement. When Walt and Jesse are running their own business, Badger is arrested as one of their street dealers. Upon Jesse’s recommendation of getting a criminal lawyer, Saul is brought in to keep their names out of the ordeal and to get Badger released. Saul sticks around to help the pair with money laundering and is the primary source of comic relief in the show. He is a funny character, notably due to his paranoia of getting caught or being targeted by higher ups, though his story is a much sadder one when explored in the prequel Better Call Saul. We learn he started off as scam artist Jimmy McGill though wanted to better himself and become a lawyer after his esteemed brother Chuck’s success in the industry. Despite looking up to him, Chuck never wanted Jimmy to succeed as he studied at University of American Samoa and wanted a shortcut to the legal system. Jimmy nevertheless becomes a lawyer focusing on elder law, using his charm to help elderly clients. He moves on to helping low level criminals and becomes a “friend of the cartel”. His relationship with reputable lawyer Kim Wexler causes her to let loose within the scamming world and they concoct a plan to damage the reputation of fellow lawyer Howard Hamlin to receive a pay-out owed to them. Their morality degrades as they enjoy the scheme until cartel associate Lalo murders him. This results not only in the breakup of the couple but sees Saul become irreversibly involved in the criminal world. Lalo and Howard’s bodies are buried next to each other under the lab, giving a whole new experience to watching the lab scenes in Breaking Bad. The prequel also gives insightful background into other characters such as Gus and Mike. We learn how their partnership came to be: a mutual hatred of Hector Salamanca. The Salamanca’s show up all over the place in both shows and each are as evil as each other. If Tuco isn’t beating people to death in a drug-fuelled rage or the cousins axing witnesses, then Hector is goading cartel rival Gus. After seeing Hector helpless in his wheelchair-bound state in Breaking Bad, it is interesting to learn of how his stroke happened. Furthermore, seeing the construction of the super lab shows us lives were lost in what was a delayed and top-secret process. We also learn of how Mike, once a Philadelphia cop, became involved in the criminal world; that one is a tearjerker. If Walt is the protagonist, Hank is the antagonist. The fact that Walt worked as his notorious alter-ego Heisenberg all the while doing so under Hank’s nose is all the funnier when you think back to the pilot in which Hank jokingly mocks Walt for being timid. Hank’s discovery of Walt being Heisenberg is the point of no return as Hank battles to catch Walt until he meets his death at the hands of Jack’s gang. Hank’s death kickstarts Ozymandias, the episode regarded as the show’s best. However, it is the perfect finale that cements the show’s status. Where shows like Game of Thrones have crashed and burned in this area, Breaking Bad rises to the challenge with incredible success. The finale follows Walt’s last day as he ties up all loose ends, seeing his money will reach his family and all characters get their comeuppance or freedom, before one final immense vengeful scene of awesome action. The camera pans out as Walt lays dying at the hands of his own creation, the only thing that could’ve killed such a genius, surrounded by the equipment he oh so loved. And scene.

Published by Mason Oldridge, 26 September 2025 All Creatures Great and Small star Rachel Shenton leads on this latest Channel 5 drama. Joanna inadvertently spreads a rumour in her new town that a child killer is living there under a new identity and starts an obsessive campaign to find out who it is due to a childhood trauma. Unfortunately, while the premise sounds promising, the series is slow paced and not a lot happens in the first three episodes. However, after making several false accusations, Joanna is horrified to eventually discover that her mother is Sally McGowan. She also learns that parts of her and her mother’s life have been fabricated in order to protect them, including the fire that traumatised her as a child never happened. The next discovery that Rachel is the murderer falls a little flat as this was predictable given her role as Joanna’s only friend, though the reveal that Rachel was Robbie Harris’ sister is a nice touch that ties the past and the present together and the fire provides a dramatic finale. Despite Debbie confirming that both Sally and Rachel perished in the fire, the final scene reveals that Bea survived and is living in another country with Liz. While it provides a more chilling ending, it feels like a miscarriage of justice. Sally only received 10 years imprisonment for her sadistic killing and doesn’t deserve to live a free life, especially when Rachel doesn’t survive after a lifetime of grief and her daughter is now orphaned. Overall, the takeaway of the series is an entertaining albeit unfair ending but an impatient slog to get there. 6/10

Published by Mason Oldridge, 24 September 2025 You can’t cheat death! Final Destination is a horror film franchise that ran from 2000-2011, spanning five movies. Following its reboot with Bloodlines earlier this summer, let’s cast an eye over the deathly series! Each film sees the protagonist have a premonition of a forthcoming disaster and convince a group including themselves to avoid the event, only for death to catch up with them in the most graphic of manners. The first film details a plane explosion, the second film a motorway crash, the third film a rollercoaster accident, the fourth film a motor racing incident and the fifth film a bridge collapse. Final Destination Alex Browning is flying to Paris on a school trip with a group of his classmates when he has a violent premonition of the plane exploding mid-air. The vision is undeniably more graphic than the real-life occurrence but what makes the actual event such a chilling scene is the way the gang argue in the airport as the plane explodes in the background to their horror. Death then proceeds to hunt them down in grotesque ways, including an accidental hanging in the shower, run over by a speeding bus, stabbed with a kitchen knife and hit by shrapnel from a train collision. This first instalment also introduces the mysterious William Bludworth, played by the Candyman himself Tony Todd. The ominous undertaker is the only recurring character in the film series, often explaining the situation to the survivors and giving them advice on how to break it. In Bloodlines, it provides details on Bludworth’s backstory, revealing that he was rescued from a disaster as a child and is still alive as the bloodline of his savior hasn’t been killed yet. Alex and fellow survivors Clear and Carter meet in Paris, the location they were never meant to reach, when Carter is hit by a swinging sign as the screen cuts to black. Final Destination 2 Kimberley Corman prevents a group of people from entering Route 23 after she envisions an accident on the highway. Again, it comes true, but what makes this scene so epic is the logging truck that causes the incident in the first place as it has become a cultural instinct to feel slightly uneasy every time you pull up behind a vehicle transporting such lumber. Death then proceeds to restore order with more unfortunate endings such as impaled by a ladder, crushed by a glass pane, decapitated by an elevator, impaled by a pipe, dismembered by barbed wire, explosion from an oxygen leak and finally a grill explosion. In this second instalment, the characters receive omens serving as warnings of their upcoming deaths and attempt to use these to avoid disaster, though ultimately aren’t successful. This second entry also has a couple of unique factors as Kimberley Corman is the only character from the franchise to still be alive after she beat Death by drowning and then being resuscitated, and Clear Waters is the only character in a main cast to come from a previous film. Final Destination 3 Wendy Christensen and her friends visit a theme park to celebrate their high school graduation. They ride a rollercoaster, which derails, killing them all. Except, Wendy had a premonition of this before it actually happened and therefore was able to save some of them. As per usual though, the survivors are not as lucky as they think as Death isn’t going to let them bypass their destiny that easily! Unfortunate fates this time include being burned alive on tanning beds, head sliced by an engine fan, a weight machine crushing the head, a nail gun firing nails into the head, impaled by a flag pole and getting bisected by a cherry picker. This time, omens appear in photographs taken by Wendy, which the gang use to foolishly attempt to beat the system that viewers by now know won’t relent. The three that make it to the end then meet their untimely demise with a train crash. The Final Destination Nick O’Bannon’s premonition of a disaster at a speedway saves the lives of his girlfriend, friends and a group of other spectators… but not for long. This time, the first catch-up death occurs as early as the group leaving the stadium as a flying tyre from the destruction decapitates Nadia. The others don’t last for much longer though as they too meet their grisly ends by being burned alive whilst dragged by a tow truck, hit by a rock caught in a lawnmower, cut into pieces by a metal grid fence, disemboweled by a pool drain and crushed by a bathtub. Further deaths include being run over by a speeding ambulance, stabbed by projectiles from an explosion at a movie theatre and getting sucked into the gears of an escalator, but in a twist, these are revealed to have all been part of another premonition. The survivors then meet up at a café where a swerving truck crashes, taking out the rest of them. Upon impact, an innovative closing sequence begins, showing them being crushed as animated skeletons. Initially intended to be the last in the series, hence the name change, a fifth film entered development following its box office success. Final Destination 5 Sam Lawton is heading on a work retreat with a bunch of colleagues when he saves them from a suspension bridge collapsing by experiencing a premonition moments before. The bridge collapse itself is cinematic, like something out of a disaster movie. Once again, Death hunts them down one by one. The first individual death to occur is Candice’s gymnastics incident in which she breaks her neck and is a particularly tense one to watch as it keeps teasing different factors that could each contribute to the end result. Further deaths include being crushed by a Budai statue at a spa treatment and falling to death after laser eye surgery. However, the course is changed when one of the survivors accidentally kills someone else, taking his lifespan and inadvertently saving himself. This entry also diverts from the norm as another unstable survivor targets the remaining others. In a final shocking twist, Sam and his girlfriend Molly prepare to fly to Paris on Flight 180, revealing the film to be a prequel set before the first movie, concluding the series with a full circle feel and perhaps symbolising the circle of life (and death). Following the success of Bloodlines, a sequel is in development, so here’s to the future of the Final Destination franchise!

Published by Mason Oldridge, 17 June 2025 What we’re dealing with here is a total lack of respect for the law. Born out of the 90s rave scene, The Prodigy are an electronic band with its primary lineup consisting of punk frontman Keith Flint, producer Liam Howlett and secondary vocalist Maxim. Their journey encompasses seven studio albums, plenty of controversy, a tragedy and yet hope for the future, so let’s take a look back at what happens when punk meets electronica. The band released their debut album Experience in 1992. Debut single Charly samples the Charley Says public information shorts from the 70s and subsequently influenced the toytown techno subgenre, while Out of Space combines reggae with rave music. The record also contains singles from that period Everybody in the Place, double A-side Fire/Jericho plus Wind It Up, and closes with Death of the Prodigy Dancers, the first song of theirs to include vocals from a main band member. Follow-up Music for the Jilted Generation came in 1994 and is an expansion on their sound as well as progressive for dance music at the time. As primarily heard on track Their Law featuring Pop Will Eat Itself, it is a statement against the criminalisation of the rave scene, though Howlett later rejected its politicised nature. The album consists of rave, techno and breakbeat heard on singles One Love, No Good (Start the Dance), Poison and Voodoo People, with the latter built upon guitar riffs. Third album The Fat of the Land, released in 1997, is their best-selling record and can be considered as the band’s magnum opus. It can be seen as a departure from their rave origins as it embraces a new heavier electronica sound and introduces the first vocal contributions from Flint. It is also notable for its crab artwork. Lead single Firestarter is arguably their signature song and is defined by its opening bars and leading punk vocals by Flint, the latter of which is also utilised on second single Breathe, along with sound effects. Third single and opening track Smack My Bitch Up slaps from its symbol-smashing first drop, though attracted disapproval from The National Organization for Women, citing misogynistic lyrics, although the band later clarified a wider and more vague meaning of “doing anything intensely”. Diesel Power is one of the heaviest on the album and features a rap by Kool Keith, while Narayan is a haunting track with vocals from Crispian Mills and based around the Hindu deity Narayana. In 2002, they released standalone single Baby’s Got a Temper. Following a verse-and-chorus template, the track blends rock and electronic music and features a disturbing music video. It received criticism for its reference to rohypnol, also known as the date rape drug, and was disowned by Howlett. Fourth album Always Outnumbered, Never Outgunned was released in 2004 and features no vocal contributions from Flint or Maxim in a purposeful new approach. Opening track Spitfire is undoubtedly their heaviest track and drops an epic boom with screaming vocals from Juliette Lewis, lead single Girls is a heavy techno offering, while Hotride is based upon Up, Up and Away (In My Beautiful Balloon) and also sees Lewis lending her aggressive rock tone. Outside of the singles, Memphis Bells utilises bell sound effects, The Way It Is samples Michael Jackson’s Thriller and Shoot Down features vocals from Liam Gallagher. Invaders Must Die is the fifth album, released in 2009, and opens with the titular track and lead single, an almost drum-and-bass offering. Omen includes glockenspiel sounds and the instrument can be seen played by an ominous young girl in the music video, Warrior’s Dance opens to sirens and features a weighted drum beat, whereas Take Me to the Hospital incorporates breakbeats whilst remaining in the album’s new style. Elsewhere, World’s on Fire inspired the name of their 2011 live album. After multiple years of production, The Day Is My Enemy was released as the sixth album in 2015 with all three band members having worked closely on the new project. The record opens to the title track, which features a drum corps and introduces the darker and violent energy that fuels the tracklist, while lead single Nasty has a music video starring the fox from the artwork. Other singles include Wild Frontier, Wall of Death and Ibiza, the latter being a collaboration with post-punk band Sleaford Mods and criticises the common practice of pre-programmed DJ sets on the white island. Despite initially rejecting ideas of a new album in favour of the quicker produced EP format, the band released seventh album No Tourists in 2018. Lead single Need Some1 kicks things off, a short and snappy single with glass smashing sound effects. Fight Fire with Fire excels as Ho99o9 bring hip hop energy to the track and We Live Forever features techno sounds reminiscent of their early work, while other singles Light Up the Sky and Timebomb Zone utilise high-pitch vocals. There is arguably less variation between tracks on this effort, making the title track stand out due to its more sinister backing. In 2019, the music world was shook when Keith Flint was found dead in a suspected suicide. A fan-led campaign to get Firestarter to number one in the charts in his memory followed and several tributes from fellow musicians commenting on his kind demeanour poured in. In 2020, Howlett stated The Prodigy would continue. They returned to live performances in 2022 but little was heard regarding new music releases, despite hints and speculation. In 2025, The Prodigy finally confirmed a new album is coming. As their (sort of) hiatus appears to be coming to an end, there is much excitement regarding new music. There will no doubt be a hole felt by Flint’s absence. After all, he was the one who brought the punk to the electronica. Amid the electronic music landscape, The Prodigy remained unique as Flint provided punk style vocals and dancing. Still, with Howlett as producer and Maxim as a vocalist and stage performer, there’s surely some more bangers left to come from these ‘lectronic legends.

Published by Mason Oldridge, 5 June 2025 It’s been 30 years since everyone’s favourite superstar DJs left their dust days behind and turned to chemicals instead. Upon reaching three decades, let’s take a look back at the electronica giants’ (who are not actually brothers) impressive discography. Their first album Exit Planet Dust was released in 1995 and references their former name The Dust Brothers. It features their debut promotional single Song to the Siren, released under the pseudonym. Leave Home showcases the big beat sound that would go on to be pioneered by fellow electronica musician Fatboy Slim, while Life Is Sweet features vocals from Tim Burgess of The Charlatans and carries a darker tone compared to the rest of the tracklist. Follow-up Dig Your Own Hole (1997) performed significantly better, becoming their first number one album and featuring some of their better known hits. Block Rockin’ Beats opens the album while Elektrobank is a composition with a gymnastics-based music video. It Doesn’t Matter marks the first of the Electronic Battle Weapon series, a collection of promotional releases for DJs to test play in clubs. Setting Sun is a siren-laden single with Noel Gallagher on vocals, whereas The Private Psychedelic Reel is a lengthy closing track. Third album Surrender (1999) is opened by Music:Response. Beginning with otherworldly sounds, it turns into a track of digital noises. Lead single Hey Boy Hey Girl is one of their most famous and rightly so as it's an epic dance banger, whereas Let Forever Be is a second collaboration with Gallagher, features reversed sound effects and is built around a repetitive drum beat. Out of Control is another dance song featuring vocals from Bernard Sumner of New Order and instrumental piece The Sunshine Underground inspired the name of the eponymous Leeds band. Come With Us is the fourth album, released in 2002, and opens with the title track. Starting off with angry strings, a spoken word speech begins before launching into rapidly ascending and descending electronic sounds. Lead single It Began in Afrika begins with a deep voice pronouncing the titular phrase and features jungle drums, which creates a jungle / safari feel and there’s an mysterious aura surrounding the track as it remains unclear what ‘it’ refers to. Star Guitar is built around the opening guitar riff from David Bowie’s Starman and has an innovative music video of a view from a train window while the passing objects match the beat. The Test, featuring vocals from Richard Ashcroft of The Verve, closes the album and is almost psychedelic, representative of a hallucinogenic trip as Ashcroft asks “did I pass the acid test?” In 2003, the duo released a compilation album with two new singles: The Golden Path features The Flaming Lips, sees a smooth flow of light guitars and panpipe sounds and is a surprisingly emotional entry thanks to its concluding refrain of “please forgive me, I never meant to hurt you”, while Get Yourself High features rapping from k-os and a martial arts music video. Push the Button is their fifth album, released in 2005, and kicks off with the monumentally recognisable lead single Galvanize, featuring the iconic string sample and hip-hop vocals from Q-Tip, in what is arguably their biggest song. Also on the album is Believe, a highly electronic piece with stressed vocals from Kele, and The Boxer, built around a manipulated piano riff. Sixth album We Are the Night (2007) is led by single Do It Again, full of bouncy electronic sounds and another song that sits higher on their list of most listened. The Salmon Dance features a rap from Fatlip detailing the eponymous movement, interspersed with fun facts about salmon, which is also animated through its trippy music video. Elsewhere, Battle Scars sees dance and country beautifully combine in a song that features folk singer Willy Mason for one of the duo’s most innovative tracks and Saturate can be known as another instalment from the Electronic Battle Weapon series. In 2008, they released a second compilation album which brought with it the single Midnight Madness, a high-pitched electronic song. Further is the seventh album, released in 2010. It contains a collection of songs with each having its own music video, linked by an actress and their underwater and neon themes. There is a cohesive dance sound throughout, though while Escape Velocity, Swoon and Horse Power are heavier, Another World offers a lighter sound. Born in the Echoes was released in 2015 and ushered in the brothers’ modern era. Introduced by Sometimes I Feel So Deserted and its post-apocalyptic music video, this eighth album saw them crash land in the new space with a bang. Different, groovy and damn right outrageous, Go rewrites the rulebook for what The Chemical Brothers can deliver, serving up a synchronised music video and is built upon a slick bassline. Under Neon Lights features vocals from St Vincent, while EML Ritual has a slow build to its drop and gained prominence from featuring in O2’s Follow the Rabbit advertisement. The album closes with Wide Open, a slower and more sombre offering that also proves their versatility. In 2016, they released non-album single C-h-e-m-i-c-a-l, featuring live audience sound effects. The new era continues with ninth album No Geography, released in 2019. Free Yourself is the lead single and has a music video containing dancing robots with humanoid faces. MAH (an acronym for Mad As Hell) opens to maniacal laughter and introduces the character seen at live gigs, Got to Keep On is a lighter offering with bell ringing, We’ve Got to Try offers a message of positivity and hope, matched with a music video teaching a dog motorsport racing and space travel, while Eve of Destruction features vocals from Aurora, who wasn’t even born when their first album came out! I think if everyone had one message for the brothers moving forward it would be to keep on doing what they’re doing. Bring me… dance.

Published by Mason Oldridge, 10 April 2025 It’s time to begin, isn’t it? Imagine Dragons are an alternative rock band characterised by their drum-heavy sound, mainstream appeal and lead vocalist Dan Reynolds’ powerful vocals. Why Imagine Dragons as a band name? It’s a secret anagram known among the band members. Hailing from Las Vegas, they have gone on to become one of the most successful musical acts of modern times, so let’s take a look at their series of albums. After a string of EPs, the dragons released their debut album Night Visions in 2012, opening with signature song Radioactive. Beginning with an acoustic guitar intro, it then winds up to become an electronic rock anthem with slapping drums. It has a very memorable (and upsetting, despite its parodistic nature) music video centring on underground puppet fighting, led by a villainous ringleader who revels in the carnage as various teddy challengers are violently defeated, until a game-changing stuffed bear enters the ring. Along with the injured competitors, the band members can be seen trapped in the dungeon below, including Reynolds hitting a bass drum, something that has become an element of the song’s live performances, as the drum solo makes for an epic extended rendition of the certificated diamond track. Debut single It’s Time focuses on the topic of change and is one of the more emotionally charged tracks on the album, though Demons is arguably the most heart-wrenching due to its premise of personal flaws and fear of a loved one getting attached. Contrasting this is On Top of the World, a folk-esque track that is clearly much more positive and serves as a response to the band’s eventual success. Amsterdam has gone on to become a fan favourite, Hear Me contains the hauntingly innovative lyric “maybe if I fall asleep, I won’t breathe right” and Bleeding Out features broken record sounds. Tiptoe and Underdog are synth-driven tracks and more upbeat offerings in opposition to the overlying theme and mood of the album. Nothing Left To Say is a lengthy and atmospheric finale, followed by Rocks, a short folk tune, tagged on to the end of the track. Follow-up album Smoke + Mirrors was released in 2015 and is arguably the heaviest album musically. The album artwork is by surrealist artist Tim Cantor, whose works are referenced in the music video for Shots. The single opens the record with its recognisable guitar riff as one of the lighter tracks before Gold welcomes a darker tone with its Western sounds and reversed shout effect. The title track is one of the more innovative offerings, with quieter verses before the shouting prelude of “open up my mind” set to pounding drums. It deals with religious doubt, specifically Reynolds’ faith in his Mormonism, as the chorus features an outcry of “I want to believe”. I’m So Sorry touches upon garage rock with a piano-led bridge, lead single I Bet My Life incorporates folk rock and Polaroid includes xylophone sounds. Friction is one of the heaviest productions from the band and therefore one of the most epic. Reynolds’ harsh vocals are best suited to the louder instrumentation as brutal guitars and drums go hell for leather on the chorus. The song may well be in high gear but it is pedal to the metal for an even heavier outro, leading to the track standing out as an underappreciated highlight. It Comes Back to You is a silky smooth contrast to the previous number and works well for it, Trouble uses acoustic guitar to deliver another folk-inspired track, Hopeless Opus chronicles Reynolds’ depression struggles, while The Fall is a lengthy closer with operatic elements. Evolve is the third studio album, released in 2017, and was referred to as an “evolution” by Reynolds. It could be argued this is where they began to be associated more with pop rock, which creates a cohesive sound across the record. Lead single Believer is drum-heavy and one of the most streamed songs of all time while fellow popular single Thunder can be defined by its high-pitch vocal effect. Mouth of the River plays epic heavy verses against a lighter chorus, whereas Dancing in the Dark is a mellow closer with a slower tempo. The digital re-release added final single Next to Me, a stripped back love song exploring the fear of failing in a relationship. The track is honest and raw, with lyrics that honour the loyalty of a partner and a final chorus that features choral backing vocals. A year later in 2018, Origins was released and lead single Natural kicked things off with its pounding drums. Cool Out has a summer feel while Bad Liar incorporates electronic music, including water effects. West Coast features acoustic guitar and coastal lyrics, Zero is a fun track that features in the Disney animated film Ralph Breaks the Internet and Bullet In A Gun is a more innovative offering thanks to a trap-esque drum beat. Coming out of left field, Digital is chaotic and adopts drum and bass instrumentation, whereas Only touches upon EDM. Stuck reduces the tempo as a slowed emotional piece before the album concludes with Love, an anthemic cry for peace across the world, suggesting we are all connected by the titular theme. Reynolds described Origins as the sister album to its predecessor Evolve, though the latter record is much more varied and feels somewhat an improvement upon the former. In 2021, the band released Mercury - Act 1, the first half of their double fifth album. Opening the record is My Life, a ballad containing piano and strings. Lonely is a short and funky offering, Wrecked is a heart-wrenching single based on Reynold’s real-life experience of the death of his sister-in-law, whereas Monday is juxtaposingly upbeat and built around a simple electronic riff. Dull Knives surprisingly incorporates heavy rock, Follow You documents another of Reynolds’ real-life experiences, this time his reunion with his wife, while its sister single Cutthroat is one of their most innovative productions thanks to its funky keys, sound effects and screaming vocals. No Time For Toxic People is a positivity anthem and One Day is a beautiful acoustic closer. The viral hit Enemy, featuring a rap from JID and for the Netflix animated series Arcane, was also tagged on to the first act. Imagine Dragons maintain a unique sound and have reached the mainstream masses. Their overwhelming success is undeniably linked to their ability to produce such enduring music. Long live the Dragons!

Published by Mason Oldridge, 19 December 2024 If you’re here to read about the Austrian archduke whose assassination sparked the First World War, you may be disappointed. However, if you’re here to read about the Scottish rock band that dominated the 00s music scene, you’re in luck! 20 years on from their immensely successful debut album, we take a look back at their musical career on the cusp of their next release in the New Year. Franz Ferdinand are a Scottish alternative rock band with an original lineup consisting of lead vocalist Alex Kapranos, Nick McCarthy on rhythm guitar, Bob Hardy on bass guitar and drummer Paul Thomson. Although Darts of Pleasure was their first single, it was the monumental Take Me Out, released in 2004, that shot the band to fame. Their signature song, the track is instantly identifiable from that first opening guitar and is mainly defined by its catchy melody. Furthermore, the irony of a band named after someone who was ‘taken out’ is not lost here. Their eponymous debut album shortly followed and spawned more successful singles including The Dark of the Matinée, This Fire and Michael, the latter of which contains not-so-subtle homoerotic lyrics. While the album is very much indie-focused with its blaring guitars, there is welcome variation as piano features on the more laid-back Auf Asche. Finally, 40’ closes the album and is a more notable track thanks to its epic opener. The group wasted no time cracking on with their follow-up and You Could Have It So Much Better was released the following year in 2005. The Fallen opens the album with its electric startup and fast-paced vocals before lead single Do You Want To asks its titular question. Walk Away is a cohesive sounding single whereas Evil And A Heathen draws parallels to Arctic Monkeys, who would arrive on the indie scene a year later. Elsewhere, Eleanor Put Your Boots On and Fade Together are acoustic tracks featuring piano. However, closing track Outsiders is the highlight as rhythm guitars bless us with an addictive groove throughout, along with eerie sounds in its lengthy intro. Their third album Tonight was released in 2009. This saw a major shift in their sound, moving away from their indie origins towards a more alternative outfit, adopting a more electronic feel. The album opens on single Ulysses, in which whispering vocals grow into proclamations of “come on, let’s get high!” Turn It On features what can only be likened to sounds of power tools and No You Girls discusses how a girl can make a boy feel before turning it on its head to point out how boys never care. Bite Hard opens on floaty vocals set to gentle piano before building up on the verse to a more energetic chorus. Live Alone is aided by beeping sounds whereas Can’t Stop Feeling is supported by its electronic melody. However, Lucid Dreams is the highlight. The almost eight minute epic is a majorly restructured version of the prior year’s single and a vast improvement on it too. With an awesome chorus alone, it is followed by one minute of instrumental before evolving into a three minute outro of fuzzy techno. Afterwards, Dream Again is like a distorted nursery rhyme and Katherine Kiss Me is an acoustic reworking of No You Girls. Right Thoughts, Right Words, Right Action is the band’s fourth album, released in 2013, and is arguably their most experimental work, earning high praise and merit for the successful effort as well. Lead single Right Action launches the record and lends its lyrics to the album title before Evil Eye opens to a roaring scream and is a short and snappy track. Love Illumination is an upbeat song with an addictive post-chorus melody. Stand On the Horizon is rather atmospheric, beginning with a gloomy feel before bursting into the chorus and then eventually returning to a feel that mimics the drizzly North Sea it sings about. If Stand On the Horizon inhabits a Winter feel, then it serves as a nice prelude to the Spring-sounding Fresh Strawberries, which is a lot more upbeat with its harmonic chorus. Treason! Animals is the highlight, seemingly discussing mental health and needing company and background noise to distract from recoiling inside your own head. Furthermore, it contains what can only be described as boing sounds and the instrumentation quickens in pace towards the end, creating a claustrophobic, threatening environment and an impending sense of doom. The Universe Expanded is another atmospheric piece as reverberated music plays with a haunting beat throughout, as is Brief Encounters as it incorporates otherworldly sounds, whereas Goodbye Lovers and Friends is a nice closer with its dark theme. The band then underwent a lineup change when founding member Nick McCarthy left and was replaced by Julian Corrie on keyboards, synthesizers and lead guitar and Dino Bardot on rhythm guitar. A bigger focus on keys and synth is placed on fifth album Always Ascending, released in 2018, which works in the band’s favour as we see even more of their potential unleashed. The lead single and title track opens on a slow-build piano section as the music seemingly ascends towards the verse. Paper Cage delights with playful keys, The Academy Award is a sonically negative song and Lois Lane utilises synthesizers for its joyous sound. Huck and Jim is heavier and excels with its grinding guitar on the chorus and slick bass on the verse whereas Glimpse of Love bathes in its floaty light dance melody. Feel the Love Go adopts an electronic beat before descending into a funk outburst featuring sax and tambourine sounds, then Slow Don’t Kill Me Slow is a sinister closer with haunting guitar and stretched out crash symbols. Audrey Tait replaced Paul Thomson as drummer in 2021 and greatest hits album Hits to the Head was released in 2022. So what is next for the Scottish rockers? Well you’d have maybe thought they would continue to experiment with new sounds but, judging by the new singles from upcoming sixth album The Human Fear to be released in 2025, the electronic influence seems to be absent, so perhaps they’re returning to their rock origins? Either way, one thing is for sure… Audio Visual will be here in the New Year to check it out!

Published by Mason Oldridge, 3 December 2024 Hello? Is there anybody in there? Just nod if you can hear me. Is there anybody home? These are the opening lyrics to, of course, the legendary 70s progressive rock anthem Comfortably Numb by Pink Floyd, however, only a group as unique as Scissor Sisters could turn the classic into such an epic dance banger. As we hit the 20th anniversary of their overwhelmingly successful debut record, we take a look back at their career spanning four studio albums. Born out of the New York gay scene, Scissor Sisters are a glam rock band with an original lineup comprising of lead singer Jake Shears, female vocalist Ana Matronic and instrumentalists Babydaddy, Del Marquis and Paddy Boom. With their genre-splicing instrumentation, flamboyant personalities and stage presence, falsetto vocals and a sexually explicit band name, the sisters had what it takes to land on the scene with a bang. Their self-titled debut album (2004) opens with lead single Laura. Built upon playful keys and otherworldly guitar, the track discusses proving oneself and financial difficulty. Take Your Mama places acoustic guitar as the central instrument and is about coming out to your family and, on a more literal level, taking your mother on a night out! Mary is a sombre piano track that takes a more serious tone, focusing on Shears’ real life platonic friend, who later died of a brain aneurysm. Filthy/Gorgeous details transgender prostitution and features some outrageously sexualised lyrics. Later on into the tracklist, It Can’t Come Quickly Enough is the overlooked highlight. A hauntingly beautiful track, it capitalises on Shears’ falsetto vocals on the chorus and contains some of the most innovative lyrics too, with the first pre-chorus proclaiming “we knew all the answers and we shouted them like anthems, anxious and suspicious that God knew how much we cheated” as well as the chilling chorus talking of deflating disappointment arising from something long-awaited as “it can’t come quickly enough” but then “it passed you by and left you so defeated”. The album closes on Return to Oz, a commentary on drug abuse within gay culture. Opening on sinister acoustic guitar, it turns the fictional Land of Oz into a horrifying dystopia akin to the film of the same name and also contains some impressive lyrics on its dark subject matter. On face value, the album is greatly entertaining to listen to. However, scratching beneath the surface to take a deeper look allows you to fully appreciate how cleverly drafted (and also crude!) the lyrics are and the difficult and taboo topics it tackles, further cementing the record as one of the most iconic albums of all time. Follow-up album Ta-Dah (2006) also enjoyed some success, primarily from its opening track and lead single I Don’t Feel Like Dancing. Arguably their signature song, it sees the band lean into disco influences and features co-writing duties and guest piano from the legend that is Elton John. She’s My Man contains some gender-challenging lyrics whereas I Can’t Decide embraces murderous tendencies set to contrasting fun and playful music. Tracks like Lights and Ooh welcome elements of funk before later tracks such as The Other Side and Might Tell You Tonight are more toned down with emotive lyrics on love and loss. However, Land Of A Thousand Words stands out as an Elton John-style ballad with a more cohesive feel that highlights the band’s true talent. Night Work (2010) saw a major shift in the band’s sound as they moved towards being a more dance-orientated outfit. Having abandoned a heap of new material from a couple of years prior, the band teamed up with producer Stuart Price to start afresh. The sound may be different but the attitude remains the same, as echoed in the controversial album cover. The opening and titular track begins the album and new phase for the sisters with a burst of energy before Whole New Way contains some sexually suggestive lyrics. Fire With Fire is a worthy lead single that was commercially successful while Any Which Way is a fun second release, though Harder You Get shines as the highlight. Exuding confidence and desire, it is an electronically heavy track laced with more sexual innuendos. Something Like This is super catchy, Skin Tight discusses the desire for intimacy and Sex and Violence discusses the desire for, well, sex and violence. The album closes with lengthy outro track Invisible Light, an epic club banger with a surprising spoken word bridge read by Sir Ian McKellen of all people, believe it or not! Despite the change in sound, the sisters master dance music too as the album contains not one bad song. Fourth album Magic Hour (2012) is their final release and continues the dance-orientated sound. Lead single Only The Horses is co-produced by Calvin Harris, who brings his trademark house music to the track, while Inevitable is co-produced by Pharrell Williams, though this track is more subdued yet with a message of hope. Year of Living Dangerously talks of being adventurously experimental in life and maintains a nice clean production with a gentle violin bridge whereas Let’s Have A Kiki saw Scissor Sisters credited with coining the term kiki as a social gathering. Shady Love, originally planned to be the first single, features Azealia Banks with Shears adopting hip hop vocals along with a backing techno beat, contrasting with San Luis Obispo, which sounds like an ode to the Californian city, with tropical and laid-back vibes across the track. The Secret Life of Letters is somewhat eerie and incorporates string sounds before Somewhere plays the album out nicely. Unfortunately, this marked the end of the Scissor Sisters’ incredible discography. After years of inactivity, the band are planning a reunion tour, albeit without Ms Matronic. Despite being a trio now, there is still a positive in that these songs are truly unique and fully deserve to be celebrated.

Published by Mason Oldridge, 18 April 2024 Back on my holiday to Menorca, Spain in 2019, I remember walking up the waterpark’s slide tower in blazing heat, suffering from terribly painful sunburn on my shoulders. However, it was not that year’s summer anthem or some tropical house track playing through my head at the time but Sunburn, single and opening track from Muse’s 1999 debut album Showbiz. Obviously the title was the primary reason I was drawn to that particular song but it still proves that it has stood the test of time to be enjoyable 20 years after its release. Another five years has passed and we now arrive at the 25th anniversary of Showbiz, so let’s take a deep dive into Muse’s cave. Muse are an alternative rock band comprised of lead singer, primary songwriter, guitarist and keyboardist Matt Bellamy, drummer Dom Howard and bassist Chris Wolstenholme. Formed in Teignmouth, Devon in 1994, they won a Battle of the Bands competition under former name Rocket Baby Dolls. This would prove to be a turning point for the band as this encouraged them to take themselves seriously as a band moving forward. After releasing a couple of EPs, their debut album Showbiz was released in 1999. Debut single Uno introduced us to the band’s angry lyrics and screamo vocals whereas Sunburn presented their trademark tinkering keys and Bellamy’s falsetto. Muscle Museum is the title of another single from the release, a unique metaphor for their failed recognition in the early days, created as muscle and museum are the words before and after muse in some dictionaries, respectively. The title track is deservedly the centrepiece of the album. Starting off slow and sinister, it gradually grows, making use of vocal distortion, into a wonderful unleashing of energy. Afterwards, Unintended is the one of the first slower songs of the band to show they excel at more than just rocking out. The record sees the band catch the back end of the emo grunge scene before entering the turn-of-the-century alternative rock era. Showbiz isn’t their best work, but, featuring some otherworldly sounds and planetary artwork, hints at the space elements and highlights the great potential of what was to come. Origin of Symmetry is arguably their best album, embracing a space rock sound and demonstrating some serious talent. Opening track New Born is a lengthy piano-led ballad and lead single Plug in Baby is one of their most successful releases, making use of guitar scale ascension. Bliss focuses on the desire for “peace and joy in your mind” whereas Hyper Music features blunt lyrics rejecting a love interest. Space Dementia is an epic piece with rolling piano and angsty lyrics while Feeling Good sees Muse deliver a heavy rock take on the classic, including megaphone vocal effects on the second verse. Megalomania brings a nice close to the record, with a slower pace and organ sounds within. Origin of Symmetry is simply a masterpiece. Joining OOS on the God tier is Absolution. There are apocalyptic themes on Apocalypse Please and Time is Running Out and religious themes are present on Sing For Absolution and Thoughts of a Dying Atheist, as well as lyrics in The Small Print and Fury, all further supported by the thought-provoking artwork depicting a man looking up at the ascendants of the rapture. Stockholm Syndrome is one of Muse’s heaviest songs and touches upon the titular phenomenon whereas Hysteria features one of the slickest basslines in music with a chorus shouting “last chance to lose control”. Blackout combines orchestral strings with distortion and Butterflies & Hurricanes features a classical piece as a bridge, showcasing Bellamy’s piano skills. Black Holes & Revelations saw a certain musical progression with electronic influences, heard predominantly on lead single Supermassive Black Hole. Starlight is built around a keyboard riff and Map of the Problematique, seemingly a reference to global conflict, makes the resonating statement “when we bleed, we bleed the same”. Closing the album is Knights of Cydonia, an epic Western track with a two minute intro. BH&R also features interesting artwork as the cover depicts four men sitting round a table on Mars. The Resistance is somewhat lighter in sound with lead single Uprising featuring a catchy keyboard riff reminiscent of the Doctor Who theme. Resistance opens on eerie sounds and chilling piano, focusing on the central theme of oppression. Classical music plays a big part on the record, with United States of Eurasia and I Belong to You incorporating a classical piece each. Furthermore, Exogenesis: Symphony is a three-part twelve minute long rock opera composition that closes the album. The 2nd Law could be viewed as Muse’s most experimental album as they dabble in an array of different genres. Survival was written for the 2012 Summer Olympics and promotes strength and determination, with choral backing akin to Queen, Madness features electronic distortion by Wolstenholme’s drum pads, Panic Station is a fun song with an outrageously crazy music video, Follow Me delves into dubstep and Supremacy is strings-led, drawing heavy comparison to James Bond theme music (should have easily been the theme to Skyfall). Animals is Radiohead-like, a band Muse have fought to get out of the shadows from. Save Me and Liquid State features Wolstenholme on lead vocals, offering a fresh change up in the tracklist before the closing titular duo. Unsustainable also plays around with dubstep while Isolated System sounds like a downtempo dance track. Drones is a concept album on drone warfare and saw the band return to their classic rock origins after previous albums of experimental work. Dead Inside features some atmospheric keys on the chorus before the drill sergeant introduces Psycho, a heavy rock song criticising the dehumanising and aggressive treatment of soldiers and their indoctrination into warfare, also showcased in the artwork. Simulation Theory sees a return to electronic music with themes of science fiction and 80s pop culture, plus neon artwork designed by a Stranger Things artist. The album opens on synth-infused Algorithm, Pressure has a music video referencing Back to the Future, Something Human is stripped back with a chilled tone, Thought Contagion’s music video connotes Michael Jackson’s Thriller, Get Up and Fight is an inspirational song and Dig Down was written about Trump’s presidency with a music video referencing Max Headroom. Muse are a truly incredible band. They prove that, despite being a trio, they still have unequivocal talent and can master any genre. Let’s hope the Muscle Museum stays open for business for years to come!

Published by Mason Oldridge, 15 March 2024 Oh simple thing, where have you gone? As alternative rock band Keane celebrate the 20th anniversary of their debut album Hopes and Fears, we take a look back at their sensational yet often turbulent career. The band consists of lead vocalist Tom Chaplin, keyboardist and lyricist Tim Rice-Oxley, drummer Richard Hughes and bassist Jesse Quin. Originally named Cherry Keane, after a family friend of Chaplin who helped them financially when they were struggling to get off the ground as artists, they changed to the single moniker to avoid sounding like someone desperate to lose their virginity. Rice-Oxley and Hughes were initially joined by Dominic Scott, and Rice-Oxley asked childhood friend Chaplin to join as vocalist, completing the line-up in 1997. Moving to London to make it big, the lads had little success, despite releasing debut single Call Me What You Like in 2000 and follow-up single Wolf At the Door in 2001, which featured a much heavier sound than the band would go on to achieve stardom with, comparable to the grunge sound of Radiohead’s Creep. In 2001, Scott left the band and Rice-Oxley started to pen many songs which would feature on their debut album. This left them without a guitarist, which saw them position the keyboard as their main instrument, with Rice-Oxley programming bass on his computer. They were spotted by a Fierce Panda representative at the end of 2002, released a couple of singles in 2003, and then switched to Island Records, a decision made as they felt they didn’t want to change them, released their debut album Hopes and Fears in 2004, and the rest is history! Keane maintain a particular sound on each album, clearly defining each era. Hopes and Fears is full of emotional songs led by heart-wrenching lyrics and beautiful piano melodies. Their breakthrough came with lead single Somewhere Only We Know, a piano rock anthem that would become their signature song. There is a sense of youthful vulnerability on the record, notably on She Has No Time, a track about unrequited love experienced by Chaplin. They had success with other singles Everybody’s Changing, Bedshaped and This Is the Last Time, and the album would go on to become the best-selling British album in the UK in 2004 and win the band British Album of the Year and British Breakthrough Act at the 2005 BRIT Awards. In 2006, they released follow-up album Under the Iron Sea, a metaphor for the claustrophobic pressure of their newfound fame. The band described the album as a “sinister fairytale-world-gone-wrong”, a claim supported by lyrics about nursery rhymes and closing track The Frog Prince, as well as the cartoon artwork. Guitar sounds were replicated by Rice-Oxley feeding his keyboard through an electric amplifier. The album opens on Atlantic, an atmospheric song focusing on loneliness, whereas the subject matter of war is tackled on Is It Any Wonder? and A Bad Dream, with the latter based on war poem An Irish Airman Foresees His Death. Songs such as Leaving So Soon?, Hamburg Song and B-side He Used To Be a Lovely Boy are said to be written by Tim about Tom, which is interesting considering Tom sings them, and Crystal Ball is about feeling like you are losing your identity, which Rice-Oxley experienced during the band’s excessive touring. Broken Toy features haunting sounds and The Frog Prince is about ego, following a late night chat between Tom and Tim. During the UTIS tour, the band opened with eerie instrumental track The Iron Sea and used visuals throughout live shows, a highlight being when they performed at The O2 Arena, London in 2007, which was released on DVD. Perfect Symmetry, their third album, was released in 2008, with this release seeing more of a focus on synth as well as the introduction of the rhythm guitar. Opening track and lead single Spiralling is a new burst of energy, with Chaplin calling it “a train of thought about human endeavour, built on an outrageous groove”. The title track delves into the new topic of religion whereas Playing Along returns to the theme of war. They released an EP of new music Night Train in 2010 and, where all their other albums have a cohesive sound, this release was more a mismatched collection of songs, though still as good. The record opens with the instrumental House Lights, Back in Time is an epic electronic track, Stop For a Minute is a collaboration with rapper K’naan, Clear Skies offers social commentary on the dark underbelly of America, Your Love features Tim on lead vocals, Looking Back samples the Rocky theme tune and My Shadow is a fan favourite. Strangeland saw a return to their more piano-driven origins after their electronic experimentation, offering links to their hometown and nearby areas in both the lyrics and artwork. Sovereign Light Cafe is named after the cafe of the same name in Bexhill-on-Sea, with the cafe being somewhat of a tourist attraction among their fanbase. On the Road is one of their rare upbeat songs, though Black Rain, another track about war, is hauntingly beautiful with eerie instrumentation and vocals. The album closes on Sea Fog, a slow song which Rice-Oxley named his home recording studio after. The band released a greatest hits compilation in 2013 and went on hiatus shortly after, due to Chaplin’s desire for a solo project. The pressure led to him relapsing with his drug addiction, though after recovering, released his solo debut The Wave in 2016, with many tracks documenting his struggles. In 2017, he released a Christmas album and Rice-Oxley and Quin’s country music side project Mt Desolation released their second album in 2018. It turns out Chaplin wasn’t the only one battling their demons as Rice-Oxley had been struggling with the breakdown of his marriage, which culminated in a drink-driving accident. He wrote a set of deeply personal new songs chronicling this and, when Chaplin heard them over a meeting they had one Christmas and learnt he didn’t have an outlet to perform them, he became the one to bring these songs to life, resulting in a Keane reunion. Cause and Effect was released in 2019. Opening track You’re Not Home talks of the empty family home, lead single The Way I Feel tackles mental health, Put the Radio On refers to the intense intimacy of sex, Strange Room details the cell in which Rice-Oxley was reprimanded for the drink-driving incident, Stupid Things tells of the behaviours that cause divorce and I’m Not Leaving is addressed to Rice-Oxley’s daughters. However, there is light at the end of the tunnel as bonus track New Golden Age offers a glimpse of hope. Unfortunately, the tour was largely affected by the coronavirus pandemic. The band went their separate ways again after with their individual projects, which included Chaplin unexpectedly appearing on The Masked Singer. The boys are back for a celebration of 20 years since Hopes and Fears, yet there appears to be no new music on the horizon. But what do I know? What do I know?

Published by Mason Oldridge, 3 November 2022 While the 90s rock music scene in the UK was dominated by the straightforward guitar and tone-deaf vocals of Britpop, Radiohead was busy pioneering alternative rock, a genre that would break through years later. 30 years after the release of their debut single Creep, we take a look back at the incredibly successful career of alternative rock band Radiohead and how their unique sound creates atmosphere like no-one else. Radiohead came into the public eye with Creep. Their debut single might have projected them into the limelight but differs from their usual sound, aligning more with Nirvana-esque grunge that was heard in the US at the time. Still, the contrast between the calm verses and aggressive chorus, both supported by self-loathing lyrics was an initial sign that the band could set a particular tone. One day when I was depressed as a child, my dad told me in response “don’t listen to Radiohead”. I then spent my childhood avoiding them as a dangerous trigger for negativity, but in fairness, he did have a point. Moving on to their follow-up album The Bends, Street Spirit (Fade Out) has got to be one of the most depressing songs ever, courtesy of the sinister guitar. Fake Plastic Trees is arguably the main single from the album and is pretty pessimistic too as the lyrics match the downtempo acoustic guitar. The tone may be a sad one but continued to show how they build an atmosphere through the use of their lyrics and music and the connection between the two. Their third album OK Computer is widely regarded as the best and most influential album of all time. It could be said that this is where Radiohead came into their own and debuted their totally unique sound. The album creates its own dystopia, possibly foreshadowing the 21st century. Paranoid Android was the first single to be released and is a 6-and-a-half-minute long rhapsody of four sections, with its haunting background sounds giving it an otherworldly feel. From the acoustic guitar in the first section, through to the chilling choral vocals in the third and the guitar outro in the fourth, the composition is nothing short of a masterpiece and creates a scary atmosphere akin to paranoia as Yorke cries out “What’s there?” This masterfully matches the setting which partially inspired the lyrics in which Yorke was at a bar surrounded by cocaine-fuelled strangers with one woman becoming violent and acting “inhuman”. Karma Police, however, is about stress and replicates that feeling with its mix of acoustic guitar, malicious lyrics and distorted outro. No Surprises, on the other hand, features morbid lyrics and creates a sense of death with its dream pop sound mirroring the dreamlike state of crossing over and its childlike glockenspiel representing childhood as life becomes full circle. However, Exit Music (For a Film) creates an atmosphere like no other Radiohead song. Originally created for the ending of the new Romeo & Juliet film released at the time, the lyrics focus on the film’s themes of love and death. The song builds throughout, starting with acoustic guitar, then choral vocals followed by background noise before drumbeat gives way to distortion, culminating in an epic outpour of emotion with Yorke exclaiming “now we are one in everlasting peace” preceding the outro in which both the music and Yorke’s vocals wind down and drown out. With such a complex structure, the band have created an atmosphere of impending and then occurring doom. The song was used in the final scenes of the Black Mirror episode Shut Up and Dance and perfectly so too. After the twist of the protagonist Kenny being a paedophile, the song opens as Kenny realises his secret has been exposed (impending doom) and the culmination of emotional outpour plays as the police arrive (occurring doom). Both the tragedy-drama film and the anthology series see the song heighten the tension in the scenes as Radiohead have helped set such a sinister atmosphere. I have never had chills more than from the ending of Shut Up and Dance, which I massively credit Radiohead with, and struggle to listen to the song to this day due to the effect the atmosphere it created had on me. As Britpop faded as a culture, Radiohead paved the way for the post-Britpop era as a flourish of new rock bands entered the scene. Ironically, it was at this stage that the band had become disillusioned with rock music, having suffered burnout, and moved towards an electronic direction. Their fourth album Kid A incorporated ambient music after Yorke was particularly inspired by artists such as Aphex Twin. The band defied industry practice by not releasing any singles or music videos and toured in a custom-made tent. Opening track Everything In Its Right Place is an ambient track and sees the activity of having produced lyrics by cutting up and randomly forming abstract phrases take form as Yorke sings of waking up sucking a lemon. The ambient sounds, matched with Yorke’s smooth vocals and obscure lyrics creates a mellow atmosphere, almost having a calming and soothing effect. Eighth track Idioteque has a rapid beat as ambient sounds play over it and makes use of sampling and looping, seeing Radiohead branch out to new forms of producing music and subsequently creating new, different atmospheres. Radiohead’s latest album A Moon Shaped Pool was released in 2016 and proved the band are still going strong with their music, demonstrating the capability to create a particular atmosphere. Opening track and lead single Burn the Witch saw a focus on string arrangements by Greenwood. The fast-paced strings create an atmosphere of rushed panic and fear, aided by a fantastic stop-motion music video about human sacrifice. Further evidence of their skill of creating atmospheres is the use of Decks Dark in the closing scene of Ozark’s series premiere. The dark song hints at the darkness to come for the protagonist Marty, and its tone matches the scene beautifully. Radiohead are exceptionally experimental yet with each of their different sounds they’ve produced have managed to combine music, vocals and lyrics together in a way that births a different atmosphere each time, whether a chilling, depressing or cynical one. But if you give such a skilful task to such a talented and unique band, this is what you’ll get.

Published by Mason Oldridge, 15 July 2022 As the legendary Scott Mills prepares to jump ship to its sister station, we take a look at both the excellence and importance of BBC Radio 1. Radio is one of the greatest forms of media out there as it is totally unique. Where TV and film are perfect for telling a story, radio can provide a live discussion on both current events and the music it plays. However, in a world where we stream music on Spotify and full of podcasts, how does one of the oldest forms of media continue to reach new generations? Many stations aren’t going to attract our impatient brethren as Radio 3 would lull them to sleep with its classical music, Radio 4 would disinterest them with its documentaries and talk, and even Radio 2 is swaying more towards their Gen X parents. Therefore, there is only one station that delicately balances the airplay of contemporary music and digital socialisation. Radio 1 plays all the latest music that is in the charts, trending on Spotify and a viral sensation on TikTok, as well as the modern classics referred to as “anthems”. Listeners can often text and phone in to be a part of the show which allows them to personally get involved with the mad yet hilarious discussions that occur on air. Their news show Newsbeat is tailored to a younger audience, presenting the latest headlines in a more engaging manner. However, it is the presenters that are the heart and soul of the station. They are modern, relatable, relevant, and embody what the network stands for. The station’s flagship show is the breakfast show, which has had Greg James at the helm of it for a few years now. Greg is funnier than most comedians without trying and makes for brilliant company when waking up and driving to work in a morning after early breakfast host Arielle Free hands over. He often dissects the funnier stories making headlines as he gets us update to date with All the Latest Things; recently, there was a cow that got stuck in a swimming pool. A headline feature on the show is Unpopular Opinion, in which disgruntled listeners call in with a controversial opinion they are rather passionate about to which Greg and a celebrity guest will discuss their thoughts on. In the past, listeners have argued that Bond villains were better when they had cats, the last season of Game of Thrones wasn’t that bad and one just really disliked Chris Martin. Other features include Fact Controller, in which listeners say what they have just discovered but most people already knew, and Double Disasters, in which listeners announce a mistake that they didn’t learn from the first time. Scott Mills is the mainstay of the station, even if he is not actually staying. Having had his own show since 2004, Scott hosts the afternoon slot along with his co-host Chris Stark, who joined in 2012 and became known for his last-minute interview with Mila Kunis when he talked to her about his beloved Watford FC, his local pub and Nando’s rather than promoting her new film. Features on the show include Innuendo Bingo, in which Stark and a guest must attempt to not laugh at innuendos while holding a mouth full of water, Brother or Lover, in which Scott and the team ask a pair of listeners questions about their relationship before guessing whether the couple are siblings or dating, and Granny Tinder, where a listener’s grandma helps them pick a suitor by looking through their Tinder profile. Scott also presents the Official Chart Show on Fridays and the Eurovision semi-finals on TV. He is such a massive Eurovision fan that, after years of the UK performing poorly at the contest, he got behind the 2022 entry Sam Ryder and backed his song Space Man, promoting it on the show with a campaign to which it gained a strong following and went on to be the runner-up at the final as well as peaking at #2 in the charts. Jordan North is probably best remembered for vomiting on a cliff edge before an abseiling challenge on the first night of the 2020 series of I’m a Celebrity in Wales. This likely played a part in him becoming the new host of the drivetime show with Vick Hope in which the Northern pair play a host of fun games too. Jordan is an ordinary lad and is so down-to-earth that one of the show’s segments is literally What Are You Having For Your Tea? When evening falls, the shows become a little more specific. Clara Amfo kicks things off with Future Sounds, introducing all the up-and-coming new music bound to make the playlist down the line. Then it’s over to Jack Saunders with Future Artists who welcomes all the new musicians landing on the scene before Sian Eleri brings the Power Down Playlist to prepare us for bed. It is not just the weekdays with a great line-up. Matt & Mollie host the weekend afternoons, having a good laugh with each other which is shared with the listeners. Other regular voices to hear on a weekend include former CBeebies presenter Katie Thistleton and the bundle of energy that is Dean McCullough. Later on in the afternoon, the music shifts as Charlie Hedges gets listeners in the mood with Dance Anthems. As night falls, Danny Howard and Pete Tong are among the DJs on hand to soundtrack the weekend with dance music. On the whole, it is safe to say that Radio 1 has a show for every stage of the week, providing the atmosphere and energy to match. The station may be an entertaining vehicle for all the latest news and music, as well as serving up all the laughs, but it goes beyond that. It keeps today’s youth connected in an ever increasingly distant world of social media and keeps one of the oldest and most important forms of media alive, bringing it to the next generation.