Ever since we Brits had a to-do with the folks over at America in the 18th Century we’ve never quite been able to see eye to eye and this stretches into our mutual attempts at cultural expansion. We have constantly been back and forth in the race to reign culturally supreme, pushing our necks over the finishing line only to be dragged back by an overly ambitious C-Vulture clad in stars and stripes, how crass.
But don’t label me a Anglo-snob too quickly as it’s a fair assessment that we are the classier nation, we bore Shakespeare for the love of Jemima … oh come to think of it, even he might have been a fraud. In fact who are we to judge, we also home John Barrowman, a vision of all things jazz hands with a small concept of actual entertainment (soz).
So, maybe America isn’t crass, instead they’re justifiably confident. There are some things, painful though it is to admit, that America is just better at. Satire is their domain. Whereas we cling on to the wit of Have I Got News For You, an influence which sadly dissipates as soon as we switch over to the intelligence-ridden Total Wipeout, some of the US’s most influential liberals are comedians. Jon Stewart and Stephen Colbert have stood high over questionable republicans for years, and embrace their role of “satirist”. They mock but they also inform and whether you see it as right or wrong that some people gain their main intake of news through comedy, the fact remains that they are significant because they don’t take no shit. Stateside, comedians are idols and ours are panel show fodder, saying the right words and pressing the right buzzers for the fast track to arena comedy, depressing.
When you become ready to commit you’re life to a box-set the first ones on the list are probably American with programmes like The Wire and The Sopranos topping the most wanted lists and tend to highlight the archaic nature of our “classic shows”. Recently, however, things have shifted and we have awoken from our creative coma with British cinema at a peak as Submarine and Attack the Block are critically acclaimed for their originality and it’s no secret that behind the biggest US shows is often the most underrated British talent as the God-like status of gawky Blackadder star and silver fox, Hugh Laurie goes to prove. So, it may even be fair to say that America has been craving the British influence, putting aside the rivalry for a slice of our eel pie.
Since the dawn of Western culture there have been battles depending on whether you screamed for the lip curling sexiness of Elvis or for the freakishly talented mop tops of The Beatles. The arts are competitive in their nature but our tête-á-tête with the good folks over in the US of A is healthy and even necessary to keep culture at its best. We have even learnt to play to our strengths as both countries are co-dependent in our love of good culture. We say potatoes and they say potahtoe but let’s call the whole thing off.
Although I was fully committed to writing a Christmas telly round-up, i’m not ashamed to admit that I was hit bad, real bad by the departure of a certain Pat Butcher so in my emotionally raw and sensitive state I have decided to focus on the Pièce de résistance – the hundreds of thousands on top of the sherry trifle – the return of the original odd-ball, Sherlock (lets not mention the bitterly disappointing return of a jaded Ab Fab)
We start exactly where we left off, in a shady swimming pool being thoroughly freaked out by Begbie-style Moriarty. What follows is a complicated plot involving Americans with guns, a lesbian royal, an EXTREMELY important camera phone (why did they keep stressing its picture taking ability?) and the one thing Sherlock should be incapable of doing … falling in love, or at least his equivalent of it.
The series yet again coincides with the release of Guy Richie’s blockbusting film extravaganza, Sherlock Holmes – Game of Shadows. The latter reincarnation is the cocky smart arse at the back of the bus, who is comparatively cooler than you but nevertheless is still a bit annoying compared to Benedict Cumberbatch’s sparse yet intricate depiction. He is grumpy, stubborn and irritable but we begin to crave the moments when he shows a hint of compassion, whether it manifests by coming to the defense of Mr. Hudson or apologising for his misinterpretation of romantic feelings. But he still can’t resist a sarcy look or ignore his ability to suss anyone out with the blink of his eye. To better the first series, this return had to develop Sherlock further and resist letting these brilliant idiosyncrasies take over the show’s effect and indeed it does. By showing a potential for emotional capacity in his relationship with Irene Adler we are left as intrigued and as puzzled as Watson is.
There has been ridiculous claims made by the “newspaper”, The Daily Mail, which states that Sherlock is burning the very innocence of our children with heinous depictions of a naked woman pre-watershed, whilst being compelled at the same time to show us such images. Get a grip. This seductive and odd introduction to the infamous Irene Adler (played with precision by Lara Pulver) was an ingenious way of showing that there are flaws in Sherlock’s logic, and when it comes to women, there are many question marks.
As it has come to be expected of this series, the script was drenched with humour and wit, sealing the chemistry between Holmes and Watson, as well as ensuring they we are never distanced from Holmes, despite being infinitely separated by his intelligence. The show never feels consciously pushed into the 21st Century, it is a natural fit and makes us wonder why it had never been attempted before. The use of technology and social media avoids clunkyness by stressing the obvious progression because it would be odd not to write a blog about your weirdo crime solving housemate, surely? Watson (played with an endearing frustration by Martin Freeman) yet again portrays the perfect counterpart, evoking sarcasm and a general disillusionment to the great but infuriating Sherlock.
Richie and Moffat’s interpretations are world’s apart and joyous in their own right but it seems the modern day skew suits a character who was the modern man of his time. Despite a charming nod to the deerstalker, Moffat has moved away from any temptations to sink into Sherlock stereotyping and re-defines him on our terms, in our language and it is unfalteringly successful.
p.s. I feel compelled to put into the interweb-stratoshpere my immense love for Black Mirror, a clever, sharp and through examination of modernity’s progression into self-destruction and one which should (but probably wont) render all of the Charlie Brooker mainstream haters into a stinking silence because yes it was gross at times but it went way beyond any notion of controversy and if that is all you take away from it then you need to re-watch it or go home.
The title of national treasure gets flung around quite often these days from Brucie to Attenbrough, but a perhaps more overlooked contender is Nicholas Persons. As he sat in the Pleasance Courtyard with the Fringe buzz behind him it was almost as if Parsons was at home. At 87 it is difficult to think of a more hard working performer, involved in three shows at this years Edinburgh Festival alone, his stamina is inspiring but he remains unfazed, “People say ‘oh you are consciousness’ and I reply no, I am just professional and that’s why it’s such a demanding job.”
In his 65 years experience in the media Parsons has chaired one of Britain’s most successful radio series, been the host of an iconic game-show and even tried his hand at stand-up but he remains clear that first and foremost, he is an actor. However, the frustrations that came with his mainstream success is the 1970s are quickly brought up, “It is the strange thing about our society, once you start doing a lot of light entertainment, although it is still a comedy show, people seem a bit suspect towards you and think you can no longer act.” He continues, “When I am appearing on stage I am often described as ‘game-show host Nicholas Parsons shows us he can act’ but it’s the other way round. I always say I am an actor but do different things. Very few people cover a broad spectrum of entertainment. In America this gives you kudos but in Britain they’re suspicious of you.”
However, Parsons quickly regained the path of his career and the span of his life in ‘showbiz’ may be hard to comprehend in our culture of overnight successes and even quicker demises (“In my time we had to struggle for a success”). This baffling longevity is brought into quick focus as he explains “There was no television when I started out.” At this point we were interrupted by a young girl telling Parsons she was a huge admirer of his. That’s the thing, although he began to entertain people over six decades ago, his talent and influence spans the generations and age becomes irrelevant when you know your craft as well as Parsons does.
His youthful determination might be the reason, not only for his own success, but for that of his most notable legacy, Just A Minute, although he admits “One doesn’t know what makes it a success.” There is great affection when talking about the show, which began over 44 years ago, “In my role as chairman I try to generate fun, we go out there with the intention of enjoying ourselves.” This extends further than his place in radio however, as fun transforms itself into a life-philosophy for Parsons, a firm believer that “in these time of stress and hardship people do need to laugh more and relieve the pressure of the society which we live today.” There are many reasons to trust his word but perhaps the most important is because it is simplistically and infectiously optimistic, “I’m a great believer that you should have as much fun in life as possible and everything becomes much easier.”
Parsons is a self confessed verbaliser and he speaks with such ease and interest, about almost anything. Show-business clearly inhabits him and his traditional style of comedy may be ‘old school’ but its applicability today still stays the same as it did sixty years ago. Unlike a lot of his piers, Parsons has adapted with the rapid change in media from era to era with the dignity of a true pro. So with such wisdom comes sound advice, “being a professional, you never rest on your laurels which is probably why I am still working. It would all soon disintegrate if I was to take anything for granted.” The enthusiasm with which he still talks about his work is refreshing and poignant and he is yet to be jaded by the industry, “I go out every night and I am anxious but somehow through sheer experience I let my nerves work for me and it pumps your adrenalin.” For him there is no truer expression than you are only as good as your last show, “if it goes well I know I will work again but if it doesn’t, I probably wont be.”
Unsurprisingly, a lot of controversy has surrounded this drama, a re-telling of the atrocities caused by Fred and Rose West. However, a part of me thinks this is simply the Daily Mailers granting themselves another excuse to flare up the conclusion that if people liked this drama then people condone what happened in it. Any accusations of ‘glorifying’ the murders is simply a stock phrase absurdity. This is clearly a well thought out, well researched and well acted piece of television. If anything, this is exactly what TV should be used for. Or maybe it is better to watch And and Dec spin an oversized roulette wheel night after night.
Dominic West’s hauntingly calm, matter-of-fact (and verging on comical) portrayal of West was truly shocking. The blunt descriptions of his daughter’s murder was sufficient enough to make me gasp and recoil which reflects West’s absorption of the character and his bizarre, fractured state of mind. There is nothing but the bare facts presented and the show is careful to limit any sensationalism. No bodies are seen, nothing is over-exaggerated; it is simply and accurately awful.
By portraying the story through Janet Leach, the eponymous appropriate adult, there is a sense of affinity between her character and the viewers. The actual normality of Leach is juxtaposed with the psychopathic normality shown in West. As she is truly dropped into a situation of such magnitude we are given a sense of perspective that would have been lacking in a biopic and therefore the story remains focussed on the horror rather than being caught up in the personality of West.
This was an important and entirely new perspective which tells the story we have heard so much about in the past. It was not an easy watch but it was a necessary one.
Its not often that you find yourself crying solidly for an hour and consider yourself thoroughly entertained. The new BBC drama Single Father then, is the exception to this rule. Presenting itself as a hard going but ultimately worth while programme, it shows Dave (David Tennant) and Rita (Laura Fraser) in a hub of domestic bliss. This chaotic and happy family are hit by tragedy when their mother, Rita is struck down in a bicycle accident which is shown with brutal reality. After seeing the death we return to 24 hours before and glimpse into her life, gaining a connection with her as a character and ultimately as a mother. When confronted with Rita’s death for the second time on screen there is an almost metaphysical poignancy in Dave’s intuitive reaction which is a beautiful and harrowing moment and initiates the start of a traumatic transition in his life.
The documentary-esque feel to Sam Miller’s direction leads the show with elegance and sophistication. It would be very easy for a programme with such a subject matter to be handled with a mawkish sentimentality, however, within Single Father there is a bitter reality to the proceedings which ultimately pangs our emotions even more. This rawness is emphasised with the casting of four children who offer performances which indulge the viewers. Dealing with their mothers death with a straightforward responsibility contrasts with Dave who is crumbling with the world around him. David Tennant is remarkable. His presence is immediate and constant and such captivation never falters. If the sign of a true actor is whether he is willing to cry properly and therefore with great ugliness then Tennant should go down in the history books.
His depiction of a broken man is real which makes it all the more painful to watch, striking a cord which has relevance for everyone. Adopting his native Scottish accent, there is also a comforting aspect to the naturalism he evokes. Such palpable on screen grief leads to many other story lines. Perhaps the most affecting of which is Dave’s relationship with his step-daughter Michelle, who is now lost and desperate in her attempt to feel connected to someone. Similarly, the support of Rita’s best friend Sarah (Suranne Jones) reaches the boundaries on appropriateness when only ten weeks after Rita’s death they initiate an affair misted by emotion and vulnerability. The grey area of morality is one which is often avoided in drama now and it is refreshing to see such gritty actualities played out with sincerity and not merely for the sake of controversy.
This is the first of four parts which are set to continue along Dave’s exploration of life as a Single Father. If you can manage to withstand such raw emotion then do it, you will come out of it a better person.
It’s big, Teaandtoastblog’s first interview. And we couldn’t have asked for a more interesting one. Known most fondly in the UK for his role as Will Bailey in The West Wing, he has now moved on to an exciting project called BACKWASH which features a few (very) familiar faces. He may be modest but there is no shying away from his presence on screen. So kick back and enjoy the wise words of Mr Malina …
1/ Do you have a favourite acting genre? Is there a particular genre that you feel brings out a better performance?
If you mean do I have a favorite as a performer, I guess I would say comedy. Though it hasn’t necessarily been the focus of my career, it’s certainly the arena in which I’m most comfortable. For some reason I’ve been cast largely in dramas, or dramas with comedic elements. I had anticipated working more as a comic actor than I have. I’d love to do an out-and-out comedy onstage. I love the immediate feedback of laughs, and honing a live comic performance over the course of a run. I hope I’ll get that chance again.
2/ Tell us about your new project BACKWASH as there are some very impressive names in there?
BACKWASH is a piece of material I’ve been playing around with as a writer for a long time, probably 12 or 13 years. I started writing two ridiculous characters for my pal Michael Panes and me to play, and though I wrote and re-wrote the material over the years, we never actually did anything with it. I could never quite puzzle out what form it should take. I wrote it as a play, a sitcom pilot, and a screenplay. Meanwhile, the material sat pristinely in my drawer, while I aged — sort of a reverse Dorian Gray thing. Finally a friend suggested the internet and — cue epiphany — I knew where it belonged.
I re-wrote the piece yet again and took it to SONY’s Crackle.com. They responded to the concept and liked my scripts. I knew part of the sell would be to put together an impressive cast. I assembled a personal wish-list of people I’ve always wanted to work with, many of whom I knew, some of whom I did not. Almost everyone whose schedule permitted participated. One of the most touching things about making BACKWASH was that my friends came through for me in such a big way. I don’t want to give away every star involved, but they include Jon Hamm, Sarah Silverman, Michael Ian Black, John Cho, John Stamos, Hank Azaria, and my West Wing peeps Allison Janney and Dulé Hill. Shooting the series was a bit of a dream come true.
3/ People perhaps best know you for West Wing. Was it intimidating walking into an already established cast?
At the risk of appearing self-congratulatory, I will tell you that I wasn’t really intimidated. I did a table read of my first episode with the cast, and everybody was as warm and welcoming as I could have wished. My memory is that the West Wing experience was pure fun from the start. I was psyched to be working with such a classy cast. I did have some nerves my first day of shooting, but I was basically working alone. I had a press conference scene to shoot and it was a whole lot of dialogue. I wanted to make a good impression. It helped that the episode was directed by Alex Graves, my old friend from the Sports Night days.
4/ What was it that attracted you to the role of Will and do you have a particularly fond memory of this character or generally working on WW?
The foremost thing that attracted me to the role was my intense need for gainful employment at the time the job was offered! Second only to that was my desire to work for and with Aaron Sorkin again. His dialogue is so good, so much fun to speak, that I would take any role of any size in any project if it were written by him.
I have so many good memories of those years, it’s hard to pick one. We had a lot of laughs, working crazy hours, playing stupid tricks on each other. I miss all the laughs.
5/ You have worked with Aaron Sorkin on many projects, do you think you would work with him again in the future? And what is it about Aaron that draws you together?
I think we’re just a good match. Aaron will tell you that he hears his dialogue like music when he writes it, and for some reason or other, I naturally speak his lines the way he intends them to be spoken. Maybe it’s just because we’ve known each other for so long. I’m not sure. The truth is, his stuff is so damn good that I think any actor who speaks the lines accurately and clearly comes off looking pretty great.
As far as working together again, the ball’s in his court! I am very confident that it’ll happen.
6/ What are your top three films and TV shows of all time and why?
TV
1. THE WIRE — This series blows me away. I think it is the single best television show ever made. The writing, directing, and acting are exquisite. The amount of artistry and forethought that went into it is unreal. There are plot points that pay off a season or two after they’re set up. The fact that the show was not awash in Emmys is a crime.
2. THE HONEYMOONERS — I haven’t watched the show in a long time, but I grew up on it. My family used to watch together. I love the impeccable comic timing of the cast.
3. PERFECT STRANGERS — No, not that one (though I did enjoy Balki and Cousin Larry)! This was an amazing British series written and directed by Stephen Poliakoff. It’s an epic family saga with kick-ass writing and acting. Like THE WIRE, the breadth and depth of the story will take your breath away. While you’re at it, watch anything by Poliakoff.
FILM
1. NETWORK — I believe this was the first R rated movie I ever saw. Amazing writing by Paddy Chayefsky — trenchant and funny, but still dramatic and compelling. Dear Hollywood, please don’t remake this; it’s perfect.
2. BRAZIL — I dig dystopian satire, particularly Gilliam-style.
3. THE PRODUCERS — The original Mel Brooks film, that is. Zero Mostel, Gene Wilder…comedy heaven.
7/ If you were to play any character in TV or Film (past or present) what would it be and why?
That’s a tough one. It could be any of a long list of comedy roles (not that I could outdo any of the actors who played them). I love great, graceful physical comedians. If I had to pick one role I’d go with Charlie Chaplin. I love Chaplin’s work, and always dreamed of playing him in a movie. That said, Robert Downey Jr. did a fantastic job.
8/ Are you an ambitious person? What are your plans for the future?
I think I am ambitious, but I am much more so about being a good father than I am about being a good or successful actor. That is no doubt one of the reasons I’m not a better and more successful actor. That said, I have recently gotten a bit more motivated about pursuing some of my professional goals, which leads me to your next question.
9/ Apart from acting is there anything else you are keen to do?
I have always written, but never really tried to get anything done with the results. Only recently have I gotten a bit more driven. A writing partner and I sold a sitcom pilot to CBS last year, and I have others I am trying to peddle. Making BACKWASH was an eye-opener. I loved being involved in the entire process, and I want to write and produce more work. And I created a role for myself that Hollywood would probably not have cast me in. Turns out there actually is something to the old clichés about “making things happen” and “doing it yourself.” Who knew? I should have listened to my mother sooner.
10/ You are a big tweeter (@JoshMalina), what is it about twitter that keeps you committed to it and who would you recommend we follow?
I enjoy Twitter on a few levels. It’s fun to follow people of note and see what they have to say. I follow a lot of very funny writers, actors, and comedians, and get a lot of laughs out of it. Quite a few people that I admire and follow are from the U.K. — Simon Blackwell (@Simonblackwell), Peter Serafinowicz (@serafinowicz), Graham Linehan (@Glinner), and others. Then there are just random people I’ve “met” on Twitter whom I enjoy.
As for my own tweeting, it’s largely random, absurd attempts to be funny. I like the enforced brevity of Twitter, trying to craft 140-character jokes. I actually think tweeting helped me as I re-wrote BACKWASH.
I also enjoy Twitter as a place to keep in touch with fans (to the extent that I have any). People tend to be very kind, and it’s fun to get immediate feedback to the thing I’m working on.
11/ Finally, have you learnt any pearls of wisdom from being an actor and if so what would they be?
For the aspiring actor, the first — perhaps disappointingly — is that if there’s something else you love doing, do it! Acting is a joy, but doing it professionally is a difficult, draining, low-odds endeavour. It’s an uninspiring message, I know, but that’s the best advice I have for anyone considering a career in the field. Weigh your options and take a deep, long look at what probably lies in store for you. That said…
If you are intent on going for it, don’t hold back. Act everywhere, in everything, with anyone. Take what you can get: community theatre, student films, play readings, etc. It’s all good experience. And the people you meet doing this type of thing will go on to be directors, casting people, and other colleagues with whom you will have established working connections.
If you mean general pearls of wisdom, yes, I have many. Here are two: Change your smoke detector batteries every six months; and, Microwave your sponges for two minutes every now and then. Good bye and good luck!
It seems for 4 years, 30 Rock has dominated the American comedy scene, and rightfully so as Tina Fey is an absolute genius. However, there are some new kids in town (quite literally) as Modern Family emerges as one of the finest comedies with a confidence of tone not seen since Frasier. It follows three families, all intertwined including a gay couple with an adopted vietnamese baby, a 63 year old grandfather with a new young latino lover and perhaps best of all, the “traditional family” of Claire and Phil (played by Ty Burrell). Burrell steals the shows as the ‘hipster’ dad who is scared of spiders but can still complete any High School Musical dance routine off by heart. What makes it different is the focus on the little things, the arguements about remotes and what its like to be in love at ten. With a ridiculously clever script and a cast who look like they have been doing this for years, you can’t go wrong and its safe to say MF will be dominating the awards for years to come!
Time flies when you having thought provoking fun, as the third season of The Wire return on Monday (BBC2) which begs the question why everyone in Britain isn’t watching it?
It’s socially radical and politically vital. In a time where the worldwide black culture suffers the stigma of knife and gun crime wherever it goes the other side of the argument is something we don’t want to hear and when we do we ignore because it’s easier that way. The Wire holds a mirror up to the black stereotype, a complex, intricate, and brutally honest portrayal of the city of Baltimore. Its genius lies in forcing its audience to be both fearful yet drawn to vicious gangsters, respect killers and admire drug dealers whilst at the same time knowing full well there life and choices. The reality of the programme is something Britain has never full been able to achieve
At its heart is a hero, a narcissistic, alcoholic, unreliable hero. Always one to break with convention “McNulty” is also played by British actor Dominic West. There is something almost tragic at the idea that an almost entire black cat cannot be represented by a black, let alone an American lead, something which West himself has been embarrassed by showing that America is ready for a black president, yet a black TV star is just a step too far! Yet if you had to choose anyone it would be him, with his rugged handsomeness and cheeky charm it’s again this juxtaposition of faults and fortitude which keeps us both interested and guessing.The wire teaches but doe not preach, it informs but does not indulge, and most importantly represents a cross section of society which rarely get there chance to talk.
Priding itself on authenticity and meticulous research, its true reflection seems as if we are peering into lives we shouldn’t be, an intimacy that never fade and is paramount to its impactget watching, its challenging, it presumes our intelligence yet you may need the subtitles …H xxx
Mad Men is back and it’s about time. For the past year TV has been shockingly bad (hole in the wall being the obvious exception) and disappointingly we look again to America to provide us with some relief from this banal drought. With its sophisticated authenticity its hard not to be seduced by the lure of Mad Man however underneath this external beauty lies a deeper and darker past life, consumed with isolation and deception. It tells the tale of Sterling Cooper, an advertising agency in the early 1960′s in Madison Avenue. From watching the first series its most noticeable quirk is that not much happens, with slowly developed story lines and dialogue to match but it’s within this control where the genius lies. Don Draper (the name alone oozing with charm) is a stupidly handsome top honcho played by Jon Hamm and with a seemingly ideal existence living the suburbia dream it seems he couldn’t want for anything more, however the picture postcard family only fuels his temptation to sleep around and connections are drawn to establish a screwed up man, barely coping to understand and explore his own emotions.
Mad Men is clearly the most innovative drama to be produced for many years and has rightfully received numerous Emmy’s and Golden Globes which makes its opening rating this year on BBC Four of 200,000 seem all the more bizarre. At the heart of it lies Peggy, a character with flaws like everyone else yet because of her quirky behavior that you can never quite put your finger on she redeems herself as the most redeemable character, a woman who despite fighting the inherent sexism rises above her secretarial role and expectations to become one of the boys, out of her depth? Hardly! Although we shouldn’t like them we do, a reluctant admiration which is most evident with Joan, the femme fatal with a questionable moral compass but a definitive confidence which we all crave, her refusal to quieten a bitterly sharp tongue.
Ultimately Mad Men causes watchers to remember such an era wit a nostalgic hue due to its stylised nature causing us to question why we don’t still live like that. However scratch deeper and dangerous questions are seen which need to be asked, which. Behind the dresses and picket fences lies a deeply established shovanism which was generally accepted by men and women alike however through Betty’s anxiety we soon realise that for the women, suburbia was an inescapable prison and the role of housewife had his own hellish effect behind closed doors.
Pete: So, first you thought he was illiterate and now you think he’s lazy? Liz, you are racist.
Liz: No, Tracy took advantage of my white guilt, which is supposed to be used only for good, like over-tipping and supporting Barack Obama.
So to kick off the blog, one of the best programmes around, 30 Rock (despite its poor ratings in the UK) is bursting with sparkling wit with a cast that each has their own capabilities. Set behind the scenes of a sketch show, highlighting the experience of the both cast and crew show a great influence with Tina’s experience as head writer of cult TV show Saturday Night Live. The creator and star, Tina Fey AKA Liz Lemon is a woman who its hard not to do anything but admire her, making geek chic her own with a self deprecation that only causes our affections to grow. Her clumsy approach to life and love is something we can all relate to but its her chemistry with Alec Baldwin which is utterly engaging, an unlikely friendship between a slobbish singleton and an charming exec however its their interdependence which draws us in, with the occasional touching moment ruined with the slam of yet another perfect one line “You’re too old to be cute Lemon”.
With its eye always on politics 30 rock is abundant in intellect, but its the bold rejection to hail to the California conformity, the perfect, the young and the beautiful actors which is surprisingly refreshing, with most of the actors over 35, and with a look of reality rather that the ideal. Another key figure is Tracy Jordan, a loony movie star sharing spooky echoes to that of the sell out side to Eddie Murphy. With his head mostly in the clouds, his off the wall phrases, psychotic tendencies and taking his shirt off at any given opportunity which gives him his own show.
It’s always pissed us Brits off that, although we have the odd success, we just can’t pull off the sit-com like the yanks can. The programme has approachability, the mistake we make both at work and within relationships which is fundamental to the shows success. The caliber of guest stars only goes to prove yet again the consistently high standard it achieves, with an A list including Jennifer Anniston and Oprah effing Winfrey!
And to the hidden gem of the show, the proud peacock page, with a Texan lilt that would melt any girl’s heart (ish). It’s within his frigid and blind naivity that his charm lies, bewildered by the bright lights of New York, and with wild dreams of Television, it won’t be long before Kenneth is running NBC! Unaware of his own loyalty and dedication, its his oddball nature with entices us and those around him, intrigued about what makes him tick without ever finding out.
30 Rock sadly may never be the success it deserves to be over here, but regardless the power to make me fancy Alec Baldwin whilst full well knowing how wrong it is, is pretty impressive, we salute you Mrs. Fey!
H xxx
