- Okay, Bethan's wardrobe, here's today's brief: I am going to see a film - one aimed at pre-secondary school kids and their parents - alone. Our mission, should we choose to accept it, is to not look weird or threatening or suspicious.
- There are two potential dress-codes we can go for; we can dress smartly and sensibly to look like an actual adult going about their everyday business, or we could wear camoflague and a ski mask to literally blend into the seat. Or perhaps I could even attempt to fit in with the kid audience by donning dungarees and pigtails. I could probably get away with that, seeing as I'm still regularly ID'd for lottery tickets.
- Let's go for a red sleeveless top and pencil skirt, with black tights and shiny black shoes. Paired with trusty Sensible Loose-Fitting and Surprisingly Snuggly Blazer, because it's always cold in the cinema and in my unrealistic imagination fashionable adult women wear either blazers or trench coats.
- Yes, altogether this outfit is rather sensible. Comfortable. Dare I say a little stylish. Lonely Adult with shit together and most definitely not a weirdo. I'm projecting all the correct vibes. Plus if I miraculously find a fellow male single cinema-goer, I'm looking kind of decent today and we can laugh off our hopeless situation together. I'm basically Gok Wan.
- Better go for the earliest showing as there's less chance I'll be harassed as there'll be fewer children. Why don't they do separate screenings of kid's films for adults? Or better yet, cinema screenings designed for adults who want to go to the cinema alone? There's a business idea. Singleton Adult Cinema, a place where no children are allowed, where we all either a) politely discuss the film’s merits in an articulate fashion in a classy wine bar afterwards or b) get a free bucket of ice cream to drown our lonely, childless souls in.
- Could I borrow someone's kid for the day? I'd look like a teenage mother but at least I'd have a better excuse to see this film. I would look somewhat MILF-ish in this outfit.
- Okay. If anyone asks, I'll lie and say I'm a covert film reviewer. No, actually, A covert film reviewer AND a film student. AND the cinema equivalent of a "mystery shopper". That'll really shit 'em. If I just talk about camera angles, "cinematography" (tbh, I'm still not 100% sure that means what I think it means) and the Pixar “ouvre”, and then point out that the hot dog stand looks a like a hotel for salmonella, I’ll blend in no problem.
- Lord, there’s a whole PARTY of children in the foyer. A whole ruddy party, a flock of infants, scattered around the place like hyperactive cockroaches. Damn youths. Whose birthday is it? Is it you, small urchin with the mahoosive slush puppy? Can I ask why you’re spending your birthday party in a cinema at 10:30AM?
- Who am I kidding, that’s the ideal way to spend a birthday. I’d like that now at 21. But if we could have unlimited wine refills instead of the slush puppy, that would be mighty lovely.
- Anyway, time to join the queue for tickets. Not snacks though. I have an actual grown-up budget I have to stick to. Hence why I have pre-bought fancy but affordable snacks and hidden them skillfully and expertly in my handbag. Like a boss.
- There is a child in front of me crying because her father won’t buy her a full-size tub of popcorn. WELCOME TO THE REAL, CRUSHINGLY-DISAPPOINTING WORLD, ANONYMOUS CHILD.
- Can you guys please hurry this along? There are only a finite number of combo meal options and I'm sure your offspring will appreciate any number of them.
- Oh boy. Time to make this conversation as un-awkward as possible.
- Yes, till attendant. I would like a Student Ticket for That Latest Pixar Film With a U Certificate.
- Yes, till attendant, it is just me today. It’s just me. There is no one else. There isn't an invisible person with me and none of those children are mine. I am existentially alone in the universe and surrounded by screaming five year olds. Please make this sale as fast as humanly possible.
- Yes, please put me at the back of the cinema. Right at the back. Back row. Back corner. Hell, if you could put me in the projectionist booth that'd be mighty sweet of you. It might seem creepy but at least I can’t be seen.
- YES, I CAN CONFIRM THAT I WANT A SINGLE STUDENT TICKET AT THE BACK OF THE CINEMA, WHY ARE YOU SAYING THAT SO LOUDLY.
- Mind you, if I were a bald and fat man with glasses I can’t help but feel that conversation might have been a little different.
- Oh, Christ, the cinema is packed. There are already people in my row and I'm going to have to do the Awkward Polite Shimmy in front of them to get to my designated seat.
- "Terribly sorry, can I just get through to my seat?" *Pause* Alright then, no one move, I'll just awkwardly stumble in front of you and make a tit of myself while wading through the assault course of popcorn buckets, nappy bags and extra large cokes you've all left on the floor.
- *Starts shimmying* *Accidentally brushes leg against child's knee* *Winces in horror* *Has heart attack* *Prays child didn't notice*
- Okay, I *could* take my designated seat and be law-abiding, or I could sit in that sweet-ass seat over there which is further away from this child next to me with the biggest bucket of popcorn the world has ever seen.
- YOLO, REBEL WITHOUT A CAUSE OVER HERE TAKING SEAT 12.
- Hehehe. Take that, Vue Cinemas! Take that, Capitalism! Take that, The Man, The System and The Patriarchy! I follow no rules. We are the 99%. #OccupySeat12.
- Oh, wait. Here are some more people. A photogenic, happy, nuclear, cereal-packet family out on a lovely trip to the cinema. Walking up the stairs towards the back row. Clearly gunning for the seats in the area I have consciously stolen.
- *Shuffles back over to designated seat* Karma always finds a way of rebalancing the universe. At least because I'm in the back row no one will kick my seat. I'll just get assaulted from the front and sides.
- Okay, the kid with the popcorn bucket is staring at me and eating so loudly it sounds like he is crunching gravel. I see The Official Wittertainment Code of Conduct won’t be strictly enforced today.
The Official Guide for the Uninitiated - Time to open my sneakily bought and expertly hidden giant bag of Marks and Spencer giant chocolate buttons. With a bottle of water, not a coke. Because, healthy adult.
- I am definitely not going to eat all of these by myself out of boredom while the static adverts are rolling like every single other time I have visited the cinema alone. That would be gluttonous and desperate. Instead, I shall eat four or five, the correct portion size, savouring each chocolatey and middle-class bite as though it were a fine wine.
- The Popcorn Bucket Kid has just been handed a Pick 'N' Mix tub from his dad. Pick 'N' mix from the cinema is just dust-covered sugar and germs that's been sitting in the same place since 2003. Rookie error, anonymous dad.
- Annnd his son has just spilt his popcorn all over the floor. Fantastic.
- Oh Christ, I’m being observed by a particularly loud kid who won't stop squirming in their seat in the row in front of me. Do I do a friendly smile or give an adult disapproving look complete with under the breath tutting?
- Wow. I don’t know what facial expression I just pulled but that came across as both ineffective and grotesque. The kid has turned back around, presumably in fear.
- To be fair, I think that seven-year-old me would be frightened if she could have seen twenty-one-year-old me, but perhaps not for the right reasons.
- Oh wait, he's laughing. Presumably at my attempts to masquerade as a Faux-responsible adult/Reviewer/Film Student/Cinema Mystery Shopper, and not look like a sad postgraduate with no friends. He's definitely not laughing because a child his age has spilled popcorn on the floor. Even Adam Sandler wouldn't find that funny. I guess the trusty grown-up blazer isn’t quite working.
- Wait, what? How did that happen? I've just eaten ALL of the chocolate buttons. Already. In record time. Children make me stress eat, evidently. Now I have no idea what do with myself.
- I know what I should do while I wait for the ads! I should Instagram my cinema ticket! Because that won't look desperate or cliched at all. That way my poncy facebook friends in cities with actual lives and friends that live near them will know that, even in the hellhole known as Thurrock, I have a life where I go out and do things.
Not a cliche at all. - Hmm, I'll have to think about what hashtags to add. Should I pretend I'm with someone? No, even for me that's quite sad.
- Far better to embrace the solitude and single-handedly remove the stigma of going to the cinema alone and consequently save the entire planet. I'm a grown-ass adult woman who should not be ashamed to do things by herself. In the words of Chaka Khan, I'm every woman, it's all in me.
- If this picture with an expertly chosen filter doesn't get at least five sympathy likes, then flying solo at a kid's movie has officially made me an outcast among my friends. I could keep my phone out and obsessively refresh my Facebook profile, but the lights are going down, which means the best part of the cinema experience, ADVERTS AND CINEMA TRAILERS, is happening.
- God, these adverts for kids toys are RELENTLESS. And shite. Toys were way better when I was a kid. If nostalgia has taught me anything, it's that in my day we made our own toys. With sticks. And lead-based-paint. And WD-40. And they were much better than this crap.
- What the hell are Yummy Nummies and why are they popular? If you want cupcakes, teach your kids to make actual sized cupcakes, rather than using ingredients stored in a Toys R Us for a decade to make small, crap tasting artificial cupcakes. This is the daftest idea known to man.
- Hmm. Children are still speaking as the cinema trailers are starting. Do I sush them? Nope. Far Better to sit in silence and avoid any form of confrontation like the plague.
- Such Adult. Much Responsibility.
- Okay, the film is starting. Any talking from now on, and officially I will activate my super responsible adult sushing powers.
- What's that noise? Is that a man SNORING? During the climactic third act? IT IS! That dad of the kid who spilled his popcorn is asleep and SNORING in front of this lovely masterpiece of cinema. Come on bro, you're a dad, you're not supposed to be the problem here.
- AHAHA. His kid has punched him awake. High five kid, you have redeemed yourself. Except not high five, because the film is reaching its emotional finale and if you make a sound I will go Full-On Angry Responsible Shushing Adult on your ass.
- Oh man, this U-certificate film is emotional. I'm not crying. I'm not crying. COME ON BETH, IF MOST OF THE KIDS AREN'T CRYING YOU'RE NOT ALLOWED TO CRY. It's the Law of Adult.
- Oh good! A small girl in the row in front of me is weeping. The sound of her weeping with muffle any accidental sobs that escape my throat as I fight the tears. Thank god for dark cinemas.
- The ceiling lights burn my eyes! And now all the kids are running around getting out of their seats while the animation sequence accompanying the credits is rolling. HOW ARE YOU SO SMALL YET STILL RUNNING STRAIGHT ACROSS MY FIELD OF VISION DAMMIT.
- I swear, Popcorn Bucket Kid, you had better put your bucket in the nearest appropriate rubbish bin. Actually, none of these children are binning any of their food but instead leaving it scattered on the seats and floor for the cinema staff to collect later. I weep for humanity.
- Well, that was far more painful than it needed to be. Maybe I should go for the pigtails next time.
Hot Chocolate Teapot
The internet equivalent of a wonky unicycle
Sunday, 26 July 2015
52 Thoughts I Had While Going To The Cinema Alone To See A Kid's Film
Wednesday, 22 July 2015
Book Therapy for Graduates
I have now quietly made the progression from “graduand” to “graduate”, which means that I am now obliged, by the power of the internet gods, to blog about it, or at the very least use it as an excuse to talk about books, zeitgeists, milestones, FOMO, and other topics favoured by the blogosphere.
Graduation is more defined as much by a lack as it does with what you gain. You’ve got a degree, but suddenly it dawns on you that you don’t have a house, you don’t have any money, you don’t have a satisfying career, you don’t have a steady partner, you don’t have amazing hair etc etc.
Now, if French philosopher Jacques Derrida broadly defines our logocentric culture of signifiers and signified as being based on an empty lack inherent to our being, as opposed to any meaningful, concrete, single idea – who the hell said a degree in literature wasn’t interesting, eh? – then perhaps one way to plug that existential gap in our graduate, depressing lives is, ironically, through shoving more empty words into our heads through some lovely books.
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Derrida - not only a badass philosopher but an aficionado of the "intellectual pipe" look. Seriously, literature degrees - they're absolutely ace. |
So here is a non-prescriptive and non-official list of books that Bethan Smith, BA recommends for all your post-graduation woes, specified on your particular problem:
HELP ME, BOOKSHELF...
… I’m Feeling Nostalgic about My Youth and Wish I Could Go Back in Time!
Try COMING UP FOR AIR by George Orwell
Coming Up For Air is essentially The Great Gatsby, if Jay Gatsby were British, balding, middle aged and above all pathetically realistic. You might get swept up the beautiful prose of F Scott Fitzgerald, but my goodness is Coming Up For Air the depressing dose of reality we all need when we start feeling very sad about our youth.
The unlikeable but utterly absorbing George Bowling sets out to his hometown on the brink of the new world war, only to find that his rose-tinted memories of the place have – quite literally – been paved over. Our youth is a vision in our heads, and nothing more. Orwell here delivers the “You Can’t Repeat The Past” mantra of Fitzgerald, but in a less romantic way that will be just the shot of reality needed for sad, romantic graduates.
Alternatively, try A Clockwork Orange by Anthony Burgess. This book will remind you that youths are scary and being one of them probably isn't a good thing. Being an adult might mean paying your taxes, but at least you’ve grown out of ultraviolence and awkward slang.
… My Auntie Val/Nana Jean/Own Mum is Starting to Pester me about Having Kids!
Try WE NEED TO TALK ABOUT KEVIN by Lionel Shriver
These types of relatives are the worst. They’re probably the same type of people who think it's a sign of failure to not be earning 40K by 30, and that in the midst of trying to bag a minimum wage job, you should settle with absolutely any human being of the opposite sex and fire out a sprog or two.
The key here is to remind yourself – and possibly them – that ickle babies are a Big Bloody Deal, possibly a life ruining one rather than an adorable addition to your brood. Lionel Shriver’s creation of Kevin is a godsend to all women who want to remain childless. Not only is it a cracking read, and absolutely brilliant for book groups, but it’s positively progressive.
Yes, some readers choose to interpret the ambiguity in this novel – is Kevin a product of his environment, or inherently evil? – as an exploration of post-natal depression and bad motherhood, but I prefer to think of it as a morality tale of successful woman, pressured into motherhood, who sacrifices her career to give birth to a psychopathic demon. The sublime, highly symbolic film adaptation is also a must-watch.
The key here is to remind yourself – and possibly them – that ickle babies are a Big Bloody Deal, possibly a life ruining one rather than an adorable addition to your brood. Lionel Shriver’s creation of Kevin is a godsend to all women who want to remain childless. Not only is it a cracking read, and absolutely brilliant for book groups, but it’s positively progressive.
Yes, some readers choose to interpret the ambiguity in this novel – is Kevin a product of his environment, or inherently evil? – as an exploration of post-natal depression and bad motherhood, but I prefer to think of it as a morality tale of successful woman, pressured into motherhood, who sacrifices her career to give birth to a psychopathic demon. The sublime, highly symbolic film adaptation is also a must-watch.
Alternatively, try Rosemary’s Baby by Ira Levin, a far less subtle exploration of demonic children which also has an excellent film adaptation.
… My Colleagues at Work are Asshats!
Try FILTH by Irvine Welsh
Welsh’s second best novel (after Trainspotting, of course) involves another highly unlikeable protagonist, detective Bruce Robertson, awful but charismatic scumbag. His interactions with his terrible co-workers on the Scottish police force might initially make you feel smug – perhaps you might project your awful boss or co-worker onto his slimy face and be secretly glad when Bruce fails.
But as you peel back the layers and read about Robertson’s sympathetic and sad downfall, perhaps it might even dawn on you that you, the unreliable narrator, the reader of the novel, are yourself a bit of a twonk at work. You should probably be nicer to Karen the secretary, for example. She might have a bit of a weird laugh, but at least she isn’t institutionally racist, sexist and demonic.
But as you peel back the layers and read about Robertson’s sympathetic and sad downfall, perhaps it might even dawn on you that you, the unreliable narrator, the reader of the novel, are yourself a bit of a twonk at work. You should probably be nicer to Karen the secretary, for example. She might have a bit of a weird laugh, but at least she isn’t institutionally racist, sexist and demonic.
Alternatively, try Lucky Jim by Kingsley Amis. Particularly good for any graduates entering the world of academia, Jim Dixon’s dealings with his insufferable colleagues at a redbrick university might be more optimistic than those set out in Filth, but they still offer a poignant, and sometimes humorous, insight into the delicate politics of the working world.
…I’m Stuck Living with my Parents and Hate my Boring Hometown!
Try EMMA by Jane Austen
Austen was bound to end up on here at some point. Austen is both good for you and tastes nice – it’s the Calpol of literature – but I have to say I’ve possibly put Emma on here for dubious reasons.
Controversial opinion alert – I despise Emma, very, very much. But I’ve found that Austen’s most highly praised, yet my least favourite, novel is very good for waking you out of a slump about living in depressing situations where your personal freedom is curtailed.
Essentially, the point of Emma is that it is very dull, which might feel a bit like a get-out-of-jail-for-free card excuse for poor plot development, but that’s the point. Everything is stiflingly domestic, to the point where the summer trip to the local beauty spot, Box Hill, feels as though it takes place indoors. If you haven’t read the novel – one of the characters, Frank Churchill, goes to London for a haircut and it is legitimately the third-most scandalous thing in the novel.
In any case, reading about Emma’s snobbish exploits in a very, very dull town will make you think twice about complaining about your lot.
Alternatively, try The Casual Vacancy by JK Rowling. While not her finest work, the abominably middle England cast of characters in her novel makes even your awful, dull neighbours and the lack of clubs of your hometown seem reasonable.
… My Friend has a more Successful Job than I have and I am Jealous!
Try MONEY: A SUICIDE NOTE by Martin Amis
This novel is born out of the greedy eighties and features a thoroughly caddish lout who sleeps around, eats around, and, for want of a better word, dicks around in the film industry in America after having a very successful career in advertising. John Self is the embodiment of someone who gets success and doesn’t deserve it, a feeling we can all relate to as we bitterly fight to the death in the graduate job arena.
A lot of the joy of this novel is figuring out the plot twist – along with reading its vibrant cast of characters (there is a character with the unfortunate name of “Christian Spunk Davis”, to give you a taste) – so I won’t spoil much. but needless to say there is a spectacular downfall, and if projecting your successful friend onto John Self’s awful character helps you get over your own lack of success, then so be it.
Alternatively, try God Bless You, Eliot Rosewater by Kurt Vonnegut. It’s a useful meditation on philanthropy, nepotism and capitalism in general, and rather than hating the protagonist and indulging in a revenge fantasy, Eliot Rosewater is surprisingly likeable. Vonnegut’s novel will make you realise that money is luck, but what you do with it is what’s important. Eliot Rosewater is both an idiot and a genius and that’s the entire point.
… I'm So Poor, It Hurts!
Try HUNGER by Knut Hamsun
Hunger might have the unfortunate/fortunate side effect of de-romanticising the “starving artist” cliché. So while you root around in the cupboard for the last packet of Tesco Value noodles and imagine yourself to be a classic, poverty stricken bohemian, you can spare a thought for the unnamed protagonist of Hunger who wanders the streets, sometimes out of choice and sometimes out of necessity, starving himself.
Hunger is disturbing and exhilarating in equal measure, as the protagonist experiences dizzying delirium, melancholia and excitement by experiencing deprivation in an almost religious fervour. It will certainly make any cheap meals taste good and will all but eradicate any FOMO you might feel staying in on a Friday night.
Alternatively, try Germinal by Zola. Because if you don’t get a perverse form of gratefulness for your lack-of-money situation by realising you’re not an impoverished coal miner in late nineteenth century France, then I don’t know what will. Reading Germinal is a bit like reading The Communist Manifesto, but it plays out those ideas in a grim, bleak and all too terrifying scenario.
… All the Men I Meet on Tinder are Awful!
Try TESS OF THE D’URBERVILLES by Thomas Hardy
Hardy’s novel should be subtitled “All Men Are Arseholes: A Classic”. Not one man in this book comes across well. Tess's father, Alec, Reverend Clare - even when Angel Clare picks up Tess and carries her across a stream, it’s not so much romantic as a bit pandering and desperate. If Angel were alive in the twenty-first century, he would be the kind of guy who describes his profile as “a nice, kind, funny guy, looking for my princess to look after” but would then promptly slut-shame you when you admit you have had a one-night stand or two.
As a spoiler/warning: it’s well documented that people don’t like the ending to Tess as it spoils the books and makes them upset. I can confirm it will make you upset, but it will also induce feminist rage.
Alternatively, try The Scarlet Letter by Nathaniel Hawthorne, which would be subtitled “Down With Double Standards and the Bloody Patriarchy” if I were an editor.
… All of My Friends are in Smug Couples and I’m the Only Singleton in the Village!
Try REVOLUTIONARY ROAD by Richard Yates
To get over relationship envy, it’s no good reading about singletons – look at Bridget Jones’s Diary, for instance. That celebrated book might seem like the book for singletons everywhere, but by the sequel, Bridget herself has morphed into one half of a Smug Couple. Plus she has an unrealistically wonderful job and flat. Reading Bridget Jones, while an escapist, postfeminist fantasy, is bad for realistic expectations.
When you’re feeling sad that you’re alone, it’s far better to read about the bitter realities of coupledom, and Revolutionary Road takes the biscuit. Love and marriage here don’t go together like a horse and carriage – instead, they cause crippled ambition, loneliness, boredom, depression, death and lots of other cheery things. Long-term commitment is just sad, whether it’s in the nineteen-fifties or not. Better to be single and happy than paired off and regretful.
Alternatively, try The Tenant of Wildfell Hall by Anne Brontë. Anne is the forgotten Brontë sister for no good reason. Her novel about a woman, her whiny love interest and her drunken and abusive ex-husband is liberating in the sense that it honestly portrayals the downsides of hasty marriages and relationships, and even when – spoilers – Helen and her new man end up together, you can’t help but feel it’s history repeating itself, rather than a classic happy ending.
… I Feel Pressured to Drastically Change My Image!
Try THE LIFE AND LOVES OF A SHE-DEVIL by Fay Weldon
Life and Loves is one of the most underrated novels ever written and it is probably one of the most hands-down enjoyable reads I’ve ever had the pleasure of discovering. That out the way, Life and Loves is brutally honest about beauty, patriarchal standards and labelling in a way that post-graduate you will approve of.
Ruth is married to Bobbo, who promptly leaves her for romance novelist Mary Fisher. Ruth’s quest to live up to her “she-devil” status leads her to change herself and consequentially those around her in a drastic – and bloody satisfying – fashion. The ending is certainly divisive, and I won’t spoil it, but this novel will make you reflect on the notion of identity in a thoroughly enjoyable way.
Alternatively, try The Picture of Dorian Grey. The original "vanity" novel, Dorian Grey’s image stays the same, perfect, youthful appearance and look at how utterly ballsed up his life becomes.
… My Degree is Useless and I’m Never Going to Get the Job I Want!
Try STONER by John Williams
This is not a book about drug culture, so you’ll need to look on another list on another blog for such a recommendation. But Stoner is one of the most beautiful novels you can read and will leave you feeling more appreciative of the powers of studying and absorbing what you love. Moan all you like about being on a rubbish temp job at McDonalds while you secretly yearn to make use of your film studies degree, at least you’re not poor old William Stoner.
Stoner, initially studying an agricultural course at the behest of his farmer parents, reads a Shakespeare sonnet in class and falls in love with literature. As he grows older, his progression into academia is the only thing to keep him afloat while his personal life is shattered around him. Even when his career stagnates, all that keeps Stoner afloat, in the end, is his love of literature. Studying and doing what you love might not bring you obvious happiness, but a true hunger and passion for your craft can work wonders in even the darkest times.
Alternatively, try Jude the Obscure by Thomas Hardy. Poor Jude. Hardy’s novel features another guy who fails trying to obtain everything that he loves – be that a partner, a sense of job satisfaction, but most of all the chance to study. Granted, it involves tons more death, depression and nastiness than Stoner. But Jude, in spite of all his hard work and desire, never even gets to go to Christminster to study. You have a degree. You can do something with that. So chin up.
… I’m Never Going to be a Published Author!
Try FIFTY SHADES OF GREY by EL James
If this can get published, anything can. Keep telling yourself that. Please borrow a library copy - whether it's germ infested or no - to avoid spending your money on it. Reading this book sober and alone is horrid, but reading it blind drunk out loud with a bunch of friends is bloody brilliant. You’re welcome.
Sunday, 19 July 2015
The Banes of Recent Past: Why I Haven't Been Writing Lately
No, not that sort of Bane!
If you are a friend, or you are my one follower of this blog (SHOUTOUT TO ARUB, I HOPE YOU ARE HAVING A SPLENDID SUMMER!), you might have noticed that there has been a fair bit of internet tumbleweed drifting around here lately.
This is because life has, for want of another word, utterly thwacked me round the temples with Important Stuff To Do. As someone who has been used to leisurely contemplating life and reading for fun this last month or so, this is unusual.
I felt like I should write an unusually short and pointless post apologising for this and explaining my absence. So, sorry. Stuff is happening, but I hope it will settle soon. Then internet whimsy and ranting will resume.
I felt like I should write an unusually short and pointless post apologising for this and explaining my absence. So, sorry. Stuff is happening, but I hope it will settle soon. Then internet whimsy and ranting will resume.
If you've clicked on this link though, you've given me an extra view on my hit count, which makes you marvellous. You can keep reading if you want, but as far as I'm concerned, unless you want to follow me or leave a comment, the rest of this blogpost is a little bit pointless.
I really won't mind if you stop reading.
Seriously.
This post is so pointless.
...
On a list of pointless things, this ranks right up there with sporks and Shrek the Third.
You're still reading?
Seriously.
This post is so pointless.
...
On a list of pointless things, this ranks right up there with sporks and Shrek the Third.
You're still reading?
...
How kind of you.
Either that means you like Shrek the Third or you're a curious sort of chap/lass.
I'm hoping it's the latter.
The former would make you a bit odd.
You're right, reader, no one likes Shrek the Third.
Ace.
Anyway, unlike some writers of stuff on the internet, pressure does not stimulate me. It flattens me out like an increasingly rubbish steamroller that gets massively more annoying as time goes on.
Pressure is the worst. Pressure is a guy who doesn't put a round in at the pub but orders champagne when it's your turn. Pressure is a guy who flirts with you for a bit and then ghosts you because he has a secret wife he neglected to mention. Pressure wears fedoras unironically. Pressure is the worst.
Recent Banes of My Life that have summoned lots of negative Pressure include or have included:
FLAT-HUNTING: by jingo, when a university says “you’re pretty much dead cert at getting a flat on campus”, what they actually mean is “LOLOLOLOLOLOL, good luck trying to find a decently priced flat within a reasonable radius of the university in an area you know absolutely sod all about in July, you supposedly clever postgraduate you”.
GRADUATION: one of the many Things That Happen That Require Rather A Lot More Effort Than Anticipated. Life lessons learned from experience: professional photos are expensive, mortar boards are exactly as silly as you imagine them to be.
HOME LIFE: The less said about Thurrock and moving back in with your two parents and an older brother who's not used to your presence, the better.
JOB-HUNTING: one of the few life-banes that has resulted in a happy success, as I now have found temporary employment with a rather nice company. I won’t name names in case of copyright or libel or whatever, but I rather like working there. But it does mean that I now spend many hours each week chatting to customers, rather than staring out the window and/or losing my patience with Netflix.
EXISTENTIAL WOE: up to and including panic attacks about my general life direction, looming spinsterhood, inability to achieve life goals, lack of self-will, rubbish haircuts, jealousy of more successful people my age, and many more of the things that recently graduated twenty-somethings experience and then insufferably blog about.
Believe you me, it has been very, very hard not to post a series of Parks and Rec GIFs and Smiths songs while complaining that I am probably never going to write a novel. Consider it a bonus that I haven’t thus far stooped so low.
Anyway, thank you for taking five minutes to read this pointless thing. Hopefully the next thing will be less pointless, more readable and more enjoyable.
EXISTENTIAL WOE: up to and including panic attacks about my general life direction, looming spinsterhood, inability to achieve life goals, lack of self-will, rubbish haircuts, jealousy of more successful people my age, and many more of the things that recently graduated twenty-somethings experience and then insufferably blog about.
Believe you me, it has been very, very hard not to post a series of Parks and Rec GIFs and Smiths songs while complaining that I am probably never going to write a novel. Consider it a bonus that I haven’t thus far stooped so low.
Anyway, thank you for taking five minutes to read this pointless thing. Hopefully the next thing will be less pointless, more readable and more enjoyable.
Monday, 6 July 2015
50 Thoughts I Had While Watching "Anonymous"
- The onscreen titles look surprisingly like the font “Papyrus”, the worst font, worse than Comic Sans.
- The film starts in New York. New York, New York, famous for its associations with the English Bard.
- DEREK JACOBI IS IN THIS AND I DO NOT APPROVE.
- Okay, Jacobi, I know you are a sceptic and support the authorship question Jacobi, but you were amazing in Doctor Who, The Last Tango in Halifax and In the Night Garden. You do not need this gig.
- And now we’re getting sweeping, running backstage shots of a busy theatre. All this makes me do is realise how much I miss Birdman.
- Derek Jacobi casually strolls up to the theatre, clearly unprepared, and launches into a prissy rant about how someone with a “Grammar School” education couldn’t possibly write words, clearly unaware at how ruthlessly challenging and comprehensive a grammar school education was in the late fifteenth century, but I’ll let that slide.
- Actually, I won’t let that slide. Fuck this film already and its classist attitudes.
- Why is suddenly there rain on stage? Dramatic effect? A pointless effect. I am mad at this film and its pointless effects.
- Okay, so that transition into Jacobean London was seamlessly done. I give Mr Emmerich credit where it is due. But I can’t get the image of a bored Derek Jacobi standing underneath a really obvious garden sprinkler out of my head.
- ACTION SEQUENCE. Ben Jonson is running from the guards with some paper tucked under his arm. He hides in the Rose Theatre, so the guards burn a giant building down without even legitimately trying to look for him. Logic!
- Small point – Jonson’s father is apparently a “glassblower” in this adaptation. If his family comes from humble beginnings and he didn’t have a university education (though Wikipedia states Jonson wanted to but didn’t) then why is it totally fine for him to be able to write amazing literature but not Shakespeare? Technically, Jonson is also a bit of a pleb and by rights shouldn’t be a genius, but the film’s not about him.
- Edward, Earl of Oxford, is introduced walking the streets of London with a hankie to his nose, tiptoeing on a wooden plank to avoid the mud like a sissy. Already I think he’s a nonce.
- Please tell me that’s not Shakespeare.
- Oh. Wow. I normally very much respect Spall but we’re going for the whole “let’s make Shakespeare a complete bumbling cad” thing in the style of The Shakespeare Code in Doctor Who, just to make dead sure the audience know he’s too dumb to write plays. Cracking. This lazy casting won’t grate on my nerves at all.
- Wait, wasn’t Marlowe dead at this time? What year is this? Is the film deliberately not telling me what year it is so I can’t fact check its historical accuracy? I think it is. Sneaky. I see what you did there, Roland.
- “Since when did words ever win a war?” says Essex. Well, there’s the famous Tilbury speech, for starters, which YOUR OWN BLOODY QUEEN performed years ago prior to this scene. Also you won’t have heard of Martin Luther King Jr, Ghandi or any other famous men-of-words throughout the ages yet, but as an Elizabethan nobleman, your education would have included lessons dedicated specifically to rhetoric and language, so either you weren’t paying attention or I’m supposed to hate you.
- Now for the first appearance of Queen Elizabeth. At least she looks appropriately withered and aged here. She also looks absolutely delighted by people pretending to be fairies though, so I’m suspect as to what I’m supposed to think of her.
- “It’s by… Anonymous,” whispers the mysterious dwarf. TITLE. BOOM. MIKE DROP.
- In an unnecessary flashback, the Earl of Oxford has written his first play, A Midsummer Night’s Dream aged NINE. So not only is Roland Emmerich retconning the recognised Shakespeare canon by putting Midsummer first, but he’s also, essentially, suggesting that the plot, language and structure of one of the most famous and beloved comedies in English literature is so basic that a nine-year-old could write it.
- Forty years? Five years? I don’t know what year it is in the first place so these constant flashbacks-within-flashbacks have no context for me. Please stop with the flashbacks.
- Back to the older, wiser, Rhys Ifans, who is lecturing Ben Jonson: “I am the Earl of Oxford, that’s my wife, who’s the daughter of my very esteemed adoptive father William Cecil, because my parents died, which means you should feel sorry for me even though I’m being a bit of a git, and this is my big house, and these are my flowers, and I like poetry, and I am an Earl, and I am important and I am giving LOTS OF EXPOSITION in a very droll voice, because I am upper class but also mysterious and important.”
- Also, the roses in Oxford’s garden are LITERALLY Tudor roses. I’m not a botanist but I’m quite sure that it’s genetically impossible for roses to be two colours like that, and that the “Tudor Rose” is just a symbolic coat of arms to combine the two noble houses of York and Lancaster rather than an actual, living plant. Unless Rhys Ifans has servants who literally spend their day *ahem* painting the roses red, in which case, The Earl of Oxford is the original Queen of Hearts and I approve of this mashup.
- The only notable thing in this film so far is an obviously Italian servant who clearly seems to speak mostly good English apart from a few words random of Italian out of nowhere, just in case you occasionally forget he’s Italian.
- Flashback again. this time The Earl of Oxford is now that guy from the Mortal Instruments: City of Bones. It’s a testament to how much I hate this character already that he wants to study poetry for pleasure, is refused this request, and I’m secretly pleased.
- As I’ve already mentioned, rhetoric, latin, grammar and the like were not thought of as necessarily evil, and poetry was a celebrated high art form in the Elizabethan court. Nobles like Thomas More wrote Utopia during Henry VIII’s reign, for instance. Celebrated courtiers such as Spencer and Syndney wrote extensive poetry sequences which pleased the queen enormously and were thought of as exemplary works of art. The Cecils, uncharacteristically, call poetry Unchristian. I can only presume that we’re supposed to hate the Cecils.
- Oxford literally throws a sword at the young Robert Cecil, a crippled boy who is playing chess with himself because he has no friends. Edward can clearly see this and calls Robert a loser right in his lonely crippled face. As a reminder, we are supposed to like the Earl of Oxford.
- Oxford gets all high and mighty about his poems and stabs a servant through a curtain Because Reasons. I wonder if this is a cack-handed symbolic literary reference? (Hint – it MASSIVELY IS). You can hear Roland Emmerich basically jumping up and down behind the camera screaming “IT’S LIKE HAMLET, GET IT?” in order to give credence to this ludicrous plot.
- The young Earl of Oxford straight up killed a servant for no reason. He was following orders and hid because he was scared of Edward. I presume that is because the Earl of Oxford’s reputation for being a bullying dick precedes him. Edward thinks it’s totally unfair that he might be punished for killing an innocent man. I repeat, we are supposed to like the Earl of Oxford.
- Flashforward – and yes, that is Mark Rylance. MARK RYLANCE! What are you doing here? I know you and Jacobi are talented Shakespearean actors who support the authorship question, but why are you in an Emmerich film?
- We now jump cut to Edward, Earl of Oxford and Queen of Hearts, practising signing “Shakespeare” in different styles and spellings. I assume this is supposed to give credibility to the theory that Shakespeare didn’t write his own plays because he never signed his name in a consistent way. Spelling in the Elizabethan period was notoriously fluid and malleable, and signing your name with different spellings was not uncommon, so this is a moot point.
- We learn that, Because Reasons, the Earl hasn’t been a very good landlord and estate holder and his family are very poor, in spite of his fancy house and earldom. He is a tight bastard and won’t give his daughter a decent dowry. He is cold to his wife. When she accuses him of “playing the flute while estate burns”, he corrects her mid rant to say that the correct phrase is “Nero fiddles while Rome burns” because he is a stickler for idioms. In the modern day 21st century, The Earl of Oxford would be the kind of guy who gets angry when a toddler misspells “happy anniversary” in a card.
- And lo! Suddenly, in yet another flashback, a wild sex scene between Queen Liz and Edward appears. And lo again! A post-coital sonnet miraculously and efforlessly appears. Rather than making me feel moved, all this does is make me miss Shakespeare In Love.
- Flashforward, and the most glaring howler in this montage of plays is that MacBeth is here apparently written before King James’ ascension to the throne, despite the fact that a) it is a play set in Scotland dealing with witchcraft, specifically written for James’ tastes and patronage and b) it contains specific references to King James’ lineage which would make absolutely no sense to talk about while Queen Liz is still on the throne.
- Now Hamlet is being performed in front of Elizabeth. The stabbing through the arras scene is being performed (in case we didn’t get the reference earlier), and Elizabeth is seemingly turned on and is massaging her breasts for no apparent reason, which is disturbing.
- “You know he’s illiterate,” says Ben Jonson. As I’ve already mentioned, a grammar school education was extremely comprehensive and Shakespeare’s extensive learning would have included reading, writing, Greek, rhetoric, Latin etc as standard. This is just lazy.
- Now, for no reason, Edward’s fencing partner tries to kill him. Francesco, the Italian guy I mentioned earlier – who in case you forgot, signor, is most definitely Italian - runs to his aid. Everyone in this film is either a douchecanoe, or gets stabbed, or if you’re Chris Marlowe, both.
- For some reason, the film is very hung up on Shakespeare designing his own genteel coat of arms. Everyone in the pub laughs at his efforts. This was a fairly ordinary, though not necessarily common, procedure for men on the rise in Tudor and Stuart England who wished to be welcomed as a gentleman. If anything, the laughter just makes all of the characters seem like snobs.
- Ben Jonson, angry drunkard, now challenges Shakespeare to write the letter “I”, to prove his illiteracy. I briefly forgive the film, because I realise that if Shakespeare comes across as a git in Anonymous, then Jonson comes across as ten times more of a git.
- The film also features as its subplot a cack-handed treatment of the Essex Rebellion. In a plot to stir rebellion against naming James I as successor, and to protect his illegitimate son the Earl of Southampton from being defeated, Edward pens Richard III as propaganda against Robert Cecil, in spite of the fact that Richard III was one of the first few plays that Shakespeare wrote.
- Also the film here decides to not even try to be historically accurate twice-over, because Essex famously commissioned Shakespeare’s men to put on Richard II, not Richard III, which would make more sense in light of a military coup. My theory is that Roland Emmerich briefly glanced at the Wikipedia page of the Essex rebellion, wilfully misread Richard II as Richard III, decided that the likeness between Richard III the hunchback and Robert Cecil the hunchback was too delicious not to take up, and decided to sacrifice historical accuracy for “art”, or something.
- I sense that Mark Rylance’s agent might be a genius for getting him this role in Anonymous; it allows Rylance to be part of a film that’s sceptical about play authorship, but by playing an actor who just performs Richard III, rather than actually being involved in the Oxford drama, I can’t technically fault Rylance for being part of the ludicrous plot. This portrayal of Richard III might also have been a sneaky backdoor audition for his performance at the Globe Theatre a year or two later. Someone needs to give Mark Rylance’s agent a raise.
- "Snubbed from the Pub" Jonson decides to rat on the upcoming Richard III production. When the censor asks Robert Cecil if he wants the play that’s lampooning him to be stopped, Rob shrugs it off and lets the it go ahead. Edward is trying to pick on a lonely cripple and the cripple brushes it off like it’s no big deal. As a reminder, we are supposed to like Edward, not Robert.
- While the play is being performed, The Italian Guy who is Very, Very Italian, AKA Francesco Mario Pizza Garlic Bread, is in the audience. Jonson feels bad for ratting him out and tries to warn him of his impending doom, but just the first few opening lines of Richard III are enough to make the Globe groundlings go full Les Miserables and his voice is lost in the crowd. The film cannot decide whether Jonson is a good guy or a bad guy, and I think it doesn’t matter, because everyone in this film is terrible.
- “How does it end?” asks a crowd member. “No doubt tragically” says another. This is the first good line in the entire film and I want to high five the screen.
- Francesco Luigi Mozzarella Meatball dies heroically saving a bumpkin-prostitute/country-wench from the evil soldiers shooting civilians. His death is shot in bloodless slow-motion. Jonson cries a bit. I think we’re supposed to care.
- Edward, Earl of Oxford, stares out of the window sadly at the carnage of the failed Essex rebellion below. His expression is one of shock and dismay. I can only conclude that Rhys Ifans has suddenly realised he is wasting his talent in a silly Roland Emmerich film that he is contractually obliged to finish. He resolves inwardly to do better next time. Unfortunately, his next major cinematic on-screen presence is as The Lizard in The Amazing Spiderman. Keep trying, Rhys.
- Now Robert Cecil, badass huncback, the only character I have rooted for so far, is a bit mean. He points out Edward’s accidental incest, revealing Elizabeth as his mother. But Robert saves the awkward situation by coldly joking that this plot is a little like a Greek… Tragedy. LITERARY BURN.
- With that punning revelation, Rhys Ifans has now truly comprehended the depth of silliness the film has reached and can take it no more. He collapses into the courtyard, in the rain, taking no notice of the surrounding extras that are being offed in a rare act of mercy by Emmerich’s henchmen/camera crew.
- Uncharacteristically for a man whose lovely dulcet tones provide warm narration for In The Night Garden, Jacobi performs a brief, bitter monologue, walks offstage like an arrogant sod, and the curtains close. This film has made me hate Derek Jacobi, which is certainly a feat.
- I can’t help but notice no one in the fictional audience clapped at the end of Jacobi’s bit. They all get up to leave in dead silence and disapproval as the Papyrus credits roll. How apt.
Thursday, 2 July 2015
An Open Letter To Netflix, Or A Series of Unfortunate Children's TV Shows
Dear Netflix and its Mighty Overlords,
How are you? I sincerely hope you are well. More than well. I hope you are elated, exuberant and positively gleeful – a curiously loquacious string of words, which here means, this writer is trying desperately to flatter you and garner your attention.
I am a recent convert to your online service of quality entertainment (and not so quality entertainment – I see you have several Danny Dyer films listed in your inventory, and I am not pleased at all as they are lower than low, but each to their own). I have watched several films on your network, including Filth, The Bicycle Thief and the wonderful Obvious Child, the latter of which I could not find at any HMV, Head or Games Exchange store for several weeks of tireless, frustrated and vain searching. Kudos to you.
Although you did not reply to my letter about saving and recommissioning Utopia, though I suppose that is still an option, I’ve just finished Orange is the New Black and am making a start on Better Call Saul. With such quality TV programmes available, I am sure you are more than chuffed that you, in November, made the excellent announcement that you are creating a 13-part TV series of the popular and important series of books written by Daniel Handler, best known under the alias of Lemony Snicket, collectively referred to as A Series of Unfortunate Events.
What a brilliant move, Netflix! I mean this sincerely – I am aware that as a Brit, any compliment I make sounds flippant and sarcastic and provoking. Again, kudos to you and your magnificent overlords. When the news broke, I jumped for absolute joy – figuratively, not literally, you understand – because I adore the Unfortunate Events series.
I am a bigger fan of the Baudelaire Orphans than I am of Harry Potter and his insanely egotistical magical friends. Snicket’s prose is divine and purposeful, and it taught me a lot about writing style, the importance of a narrative and even how to frame one’s stories, as well as the general naff parts about triumph under adversity, misfortune under adversity, and the fact that the universe is actually quite a rubbish place. My kids, Netflix, should they ever exist, will be reading these books. They have no choice in the matter.
This is why I want to lovingly check in on you and your overlords about some of the choices you are making about the series as a whole. Several months after the announcement we have heard nothing about the casting, directing, creative team, stories, or anything at all in general about where the series is headed.
I am writing this letter to you, Netflix, rather out of the blue, because I am anxious. I am sure you get lots of fanmail already about how much joy you bring to others, but I have recently had the misfortune of experiencing some Unfortunate Events (I am so so so sorry, the pun had to come out sooner or later) with regard to television adapted from my youth.
I don’t know, considering that you are an inanimate object, how acquainted you are with children’s television these days. It is rather, to be frank, shit. It contains this, for example:
I don’t know, considering that you are an inanimate object, how acquainted you are with children’s television these days. It is rather, to be frank, shit. It contains this, for example:
And also, s I discovered the other day to my horror, this:
These two photos, Netflix, are all that is wrong with television today. The first photograph is of the new series of Thunderbirds, an ungodly messy abyss of a programme that has somehow been recommissioned. I do not know if Mr Snicket is aware of the original Thunderbirds series, but I can assure you that the puppets made of plastic and string were more lifelike than these dead eyed bastards which make you feel depressed – ironically, the CGI version would not be out of place in an Unfortunate Events novel.
The second photograph wounds me deeper, Netflix, because that is what Peter Rabbit is now. The lovely watercolour Peter Rabbit from my childhood is now a wisecracking twat. Benjamin Bunny wears a beanie hat, Peter rides an electric scooter, and there are American accents everywhere. It is deeply upsetting and confusing, and having loved the books as a little girl, it has made me feel like up is down, left is right and marmite is edible.
I will now enclose a third photo:
This, Netflix, is what is known in the UK as The Clangers. It is a stop-motion TV show featuring knitted creatures from outer space that eat green soup served by dragons. I’m aware that that must sound dismally dull and low-tech to you. But it was aired in the seventies and has a large, fond following, including myself, as I managed to see a few reruns of the show on television growing up. Recently, the BBC (sorry to refer to a rival network!) recommissioned The Clangers.
I have watched some of the new episodes, despite being a grown woman. I am overjoyed with the result. They are thoughtful and lovely. The Knitting Machine” – where Granny Clanger essentially falls prey to the industrial revolution and becomes a Luddite – is surprisingly moving and entertaining. It almost undid all of the curmudgeonly feelings that Peter Rabbit caused. Yes, the remake has brighter colours and smoother animation, but at its heart, something charming exists that was in the original, which I suspect is down to retaining the jerky stop-motion animation style and using the lovely voice of Michael Palin.
But I digress, because A Series of Unfortunate Events are books for everyone aged over roughly eight, not infants learning about musical instruments and nostalgic twenty-something women. The Unfortunate Events are enjoyed by all adults and children alike.
Yet if The Clangers got it right by not messing up the original source material with dated humour and CGI, the demon you must exorcise from your TV series is any mention, reference or resemblance to the rather Unfortunate (there I go again with the puns) 2004 film.
The Unfortunate Events film, suffered immensely from a confusing tone, disjointed, rushed pace, and too much Jim Carrey. Not even the formidable Meryl Streep could save the it. Yes, it did have it had its good moments (the Littlest Elf for example, was a macabre and excellent motif) and I dare say I rather found it funny, at the age of ten, back in the early 2000s when Jim Carrey was relevant.
But “funny” is not the phrase I think of when I think of Snicket’s work. The books have a dark humour to them which I greatly admire, but their overall tone is an exploration of grief and fear. I dearly love to laugh, but I do not want to laugh that much at this series. I want to root for the Baudelaires, I want to be afraid of Olaf, I want to be sincerely sad when life is cruel to the former and good to the latter.
Jim Carrey all but ruined Count Olaf for me. Tim Curry, for example, would have done a better job, having not only narrated the British versions of the books but also proved he can do bone-chillingly frightening as well as funny in a variety of roles. The Jim Carrey overkill, the rushed attempt to explain what VFD is, and the rather tacked on faux-happy ending all spoiled the film immensely. In short, the film tried to be something else entirely to the books, and failed with a soft fizzle and a whimper.
I point to this scene alone as proof:
Keep this scene in mind, Netflix overlords, when your creative team storyboards the action sequences of the show. If, at any opportunity, the series borders on this style of humour, please shut down production immediately.
But overall, I’m begging: please, please, please, do not miss this opportunity to send these books out into the world with a new audience by selling out the darkness for the light. Children are at their best when they are filled with a combination of wonder, empathy and fear, and it is these qualities which the source material created so well. Dinosaur-impersonating Jim Carrey is not what you want your legacy to be.
Yours with fond wishes and greatest respect,
Beth Smith (a loyal fan).
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