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I can’t believe he’s still here. There are antisemites in the Labour Party who’ve been kicked out faster than this guy.

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I can only admire your patience and restraint at using the word “bordering” there.

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Could someone throw this cunt into a volcano, please.

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Metalhead’s a pastiche of Duel but the truck is replaced by a fictional Boston Dynamics style robot. That’s basically all it is, but it’s done as well as its inspiration.

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“There’s Mr Chips, washing his hair OH GOD THAT’S NOT MR CHIPS”

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Bandersnatch is a fun little FMV game really. It’s like a modern version of an interactive CD-ROM or a Sega CD kind of thing. I know the PR revolves around it being A Proper Episode (TM) but it’s closer to Night Trap or Toonstruck than it wants to admit. And it’s a great example of what it actually is, even if it’s not a great example of what it’s pretending to be.

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I haven’t got around to s5 yet (I am very tortoise-like with modern TV) but I thought s4 had some of the best stuff they’d ever done, and with no duds. ‘Metalhead’ was amazing.

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Did series 4 of Black Mirror fuck everyone’s mum or something?

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Also:

Johnny Vaughan wrote ‘Orrible which starred Angel Coulby
Angel Coulby appeared in The League Of Gentlemen’s Apocalypse with Reece Shearsmith
Reece Shearsmith appeared in The World’s End with Pierce Brosnan
Pierce Brosnan appeared in The Thomas Crown Affair with Faye Dunaway

Carl Reiner > Norman Pace

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(You can actually get from John Wayne to David Baddiel in two moves via the film Brannigan and the booklet for Genesis’ “The Beginning” albums box set, thanks to Tony Robinson who has worked with both.)

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FOR CHRIST’S SAKE MAKE IT STOP

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To be pedantic, very little of Adam & Joe on 6Music was broadcast this decade. 3 shows in 2010 and about a dozen in 2011 was all it was? Really I’d say the show was 2008-2009 and the rest was rigor mortis.

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They don’t vary, they just don’t have a 30p standard. NTSC takes a 24-frame second and spread it evenly across a 60 field sequence without time alteration.

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Strike that, I would instead like to see all the Worms fuck all the Lemmings.

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Surely there must be Earthworm Jim erotic fanfiction by now. He’s essentially a wisecracking phallus, it writes itself.

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The ten year decline in physical media being given some damn respect makes this decade a write off, particularly as within a few short years people will be screaming for it to come back.

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I already saw it on the front page of the Sunday Times.

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Mitch Hedberg was in Almost Famous with Jason Lee
Jason Lee was in the Alvin And The Chipmunks films with David Cross
David Cross was a regular in Mr Show With Bob And David alongside Tom Kenny

Phil Spector > Griff Rhys-Jones

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Ryan Gage was in parts 2 and 3 of The Hobbit with Stephen Fry
Stephen Fry directed Simon McBurney in Bright Young Things
Simon McBurney appeared in the 2004 remake of The Manchurian Candidate with Bruno Ganz

Stephen ‘Blakey’ Lewis > Rob Reiner

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How does Jawscvmcdia compare against a normal human? For reference.

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Filmed ones do, yus. NTSC is a monstrosity, although some early US colour experiments from the 60s are incongruously high quality compared to 70s/80s stuff.

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I must confess to being surprised that Britain’s Biggest Mosque did a Christmas special.

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They could then cross over Sonic into other well loved franchises, such as The Daily Politics, The Boy With The Striped Pyjamas, and the Nicholas Lyndhurst WH Smith adverts.

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No, PAL conversions are faster. You speed up so its running time is 96% of the original. It works on a 3:2 basis – NTSC you work on a timebase of 24fps>60i, PAL is 25fps>50i.

PAL>NTSC you slow down.

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I liked the one where Sonic repeatedly harrassed a woman online after being told to stop several times. They could do a crossover with that and the Sex Offender’s Register.

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Remind me, is Sonic the blue hedgehog that goes around collecting rings? Used to struggle with that when I was young, couldn’t get my head around the concept. All a bit Oxbridge for me. I mean, I really tried to get my head around the ‘him being blue’ thing, but I lost it at the rings. And then someone said that the ‘hedgehog’ element was literal and I just thought ‘leave this to the academics, I’m out’.

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Also, I’m too used to the sound and rhythm of PAL speedup Simpsons to ever be able to comfortably enjoy it at correct speed now anyway. It’s too burnt in.

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Disney+ might have Frozen and every episode of The Simpsons ever made, but does it have episode 2 of The Jumbo Jet: 50 Years In The Sky and no others? I rest my case.

This is going to go even more badly than BBC Store did isn’t it.

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Other than them both being synonymous with the concept of childlike exuberance and joy, yes.

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Conan O’Brien has regularly interviewed Mel Brooks, who produced (and ghost co-wrote) the film My Favorite Year starring Peter O’Toole.

Norman Lovett > Walt Disney

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I wish they’d release an improved version of you following a fan backlash.

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Oh and I proffer Mel Smith > John Lennon.

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Patrick Troughton was in The Omen with David Warner
David Warner was in Time Bandits directed by Terry Gilliam
Terry Gilliam provided voices on Frank Zappa’s track ‘America Drinks And Goes Home’ alongside Harry Shearer
Harry Shearer was in Dick with Ryan Reynolds.

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This is what happens when people legitimise “head canon” as a form of textual analysis. Reality gets dragged along with it.

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If you’re watching new DW in order, you can’t skip *any* specials. They’re all cliffhangered into for a start, but even the ones that don’t have major plot developments or character introductions are either important for character development reasons or are referenced later. Or even just for juxtaposition of tone.

I repeat – surely the sole point of a show being put up for streaming is to be able to watch all the episodes in order? Anything else is stealing pieces out of a jigsaw.

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I meant *all* the shows on there, not just DW. Only Fools for example. Without the specials the ongoing story is wrecked. But there are loads of programmes there where major events with consequences happen in the specials, or even, in the case of Vicious, complete the story.

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It really is baffling how ritually sacrificed all these shows’ special episodes seem to have been though. Especially as in a great many cases they are vastly important in order to binge these shows in sequence, WHICH IS THE ENTIRE POINT OF THE SERVICE.

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There’s nothing there for adults either. At least not adults with a collection of more than two DVDs.

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On a related tangent, Red Dwarf VIII was really late on to have been made in 4:3. Particularly weird as Re-Mastered went to great effort to pretend it was a 14:9 terrestrial TV blowup of a native 16:9 production.

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I’m actually not bothered by feature films using whatever they want – film is an open canvas and 16:9 TVs are the perfect middle ground to display the lot at home, so whatever the director/DOP feel they need is fine. There are also some interesting modern experiments in variable ratio such as The Grand Budapest Hotel which I think are valid.

But actual telly made only for telly made in anything other than the shape of everybody’s telly? Wank off.

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You could fill a coffee table book with Dark Star screengrabs that look like Red Dwarf.

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Did Jon Pertwee repeatedly harass a woman online several times after being told to stop? Asking for a friend.

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There were some genuinely bad audiences for XI/XII, so I think they may have tipped the scales slightly too far the other way. Obviously you don’t want too sycophantic an audience noise either, but if you get audiences where half of them don’t seem to want to be there to the point of causing trouble, you may need to allocate a certain amount through the Fan Club again.

X had it about right I think.

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Dr Strangelove changes aspect ratios continually all the way through of course.

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It’s been a valid cinematic aspect ratio for a long time – we’re essentially talking about Cinemascope here, and equivalents of – but you’re absolutely right both about it looking vain and *ridiculous* on TV shows and absolutely stupid when displayed without black bars on YouTube etc outside of a set 16:9 frame.

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Star Wars and Indiana Jones are basically two strands of the same idea though, no? They’re both camp as tits at heart, and if ever they’re not, they fall on their arse.

Star Wars has been massively derailed by po-faced overanalysis and point-missing attempts to make it progressively darker (I’m not even a particularly big fan of Empire for this reason, give me the vaudeville puppet jollity of Return Of The Jedi any day), but it’s the same thing as Indy – tongue-in-cheek pastiche/recreation of old genre movies combined with modern effects techniques, lots of humour and rollercoaster-ride sensory thrills, to synthesise a new kind of popcorn movie for a family audience using a Rutles-style screenwriting technique. But those scripts really are not meant to be taken apart and looked at as any other than a means to an end – both Star Wars and Indiana Jones are designed to be purely aesthetic pleasures, never cerebral ones (regardless of whatever Lucas says now, the self-aggrandising bollock that he is). The dafter they get – whether jamming with Max Rebo or hiding in a fridge – the truer they are to their intention; and the more serious and nihilistic, the further they drift from what they’re supposed to be (yes I mean you, fucking Rogue fucking One, you nasty bag of joyless wank). I wouldn’t like either franchise if that wasn’t their home base.

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Other than the first and last episodes, series 3 is absolutely cringeworthy and completely phoned in. Like a different show.

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Page 267 is the best page of Soupy Twists.

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I do think we were cruelly denied a big coffee table book for the 30th. Something a bit like ‘Timeframe’ or ‘The Vault’ did for DW’s 30th and 50th respectively.

Anything and everything visual, whack it in with a nice textual history all around it.

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Read eight posts back and repeat until it clicks.

[Author]

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