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00:00:00 Music Music Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:12 Jesse Host I’m Jesse Thorn. It’s Bullseye! Thorn 00:00:14 Music Music “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team plays. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:22 Jesse Host Chris Morris is an absurdist, sort of. I mean, just about everything he’s made has been absurd. He was the host and creator of The Day Today, the BBC news parody where he’d read headlines like, “Sacked Chimney Sweep Pumps Boss Full of Mayonnaise”. Then there was Brass Eye, another brilliant news parody where he’d con elected officials into warning kids to stay away from a fake drug called Cake. I say he’s only sort of an absurdist, though, because as time has gone on, his work has gotten more and more deeply rooted in reality. His last two films revolve around the world of terrorism and counterterrorism. In preparing for them, he read court transcripts, talked with journalists, even attended actual trials. His newest is called The Day Shall Come. It’s a story about a guy named Moses Al Shabazz, played by Marshawn Davis. Moses leads a small religious group—a very small religious group—called the Star of Six. He talks to God through animals, lives on a commune in a little apartment in Miami with his family, and he preaches for a black revolution: one that won’t be achieved with guns or explosives, but with crossbows and a lot of duck walking. -
A Conversation About King Rocker Between the Quietus, Stewart Lee, Michael Cumming and Robert Lloyd
No Image: A conversation about King Rocker between the Quietus, Stewart Lee, Michael Cumming and Robert Lloyd. It looks like a music documentary. Look, there’s a famous person [Stewart Lee] walking out of a train station telling viewers where they are and why it’s important. Now they’re telling us what is going on and why we’re here. It feels like a music documentary. And King Rocker, Michael Cumming and Stewart Lee’s film about Robert Lloyd and The Nightingales is one. It’s also not. You’d expect a film by the director of Brass Eye and Toast of London, and the comedian behind some of the most brilliant stand-up ever to come from these shores to be funny and smart but the experience of King Rocker explodes those expectations. It’s not hyperbole to say this is one of the best music documentaries of all time. Hilarious and brilliantly knowing about the form of music documentaries and caustic about the music industry and fame, at its moving heart it’s a wonderful homage to and portrait of a true outsider artist and inspiring comeback story that in the already boiling maelstrom of 2021 feels profoundly necessary. The film follows Stewart Lee and Robert Lloyd as they talk about Lloyd’s life as front-man and creative driver of post-punk favourites The Prefects and latterly The Nightingales. Through a series of funny and insightful conversations as they hunt down a famous 1970s public art sculpture of King Kong that is central to both men’s stories, the pair and assorted friends, acolytes and naysayers including the rest of the band and family members plus Frank Skinner, John Taylor (yep, of Duran Duran), Nigel Slater (!) and Robin Askwith (!!) discuss the past, the ups, the downs and the hazy memories of it all. -
Analyse the Extent to Which Controversial Theatre Can Be Accommodated on a West End Stage
Analyse the Extent to Which Controversial Theatre can be Accommodated on a West End Stage. Olivia Rook Jane Milling asserts that London’s West End (WE) is familiar to tourist audiences for its ‘remarkably stable’ repertoire, consisting largely of ‘literary musical adaptations’, ‘musical adaptations of films’ and ‘compilation musicals of popular musical trends’.1 This suggests that the WE is almost entirely motivated by the commercial successes of the megamusical. Audiences have a ‘horizon of expectations’ when they visit a WE theatre, as they associate the area with a particular cultural experience.2 New work is measured against the audience’s expectations and ‘The closer it correlates with this horizon, the more likely it is to be low, pulp, or ‘culinary’ art’.3 This disparaging perspective is shared by many in the industry; indeed, Peter Brook argues that during the mid-twentieth century, shows had become ‘weak, watery, repetitive, drab and silly’.4 However, there have been challenges to these long-running musical productions, leading to the development of more innovative theatre. This essay will focus on the work of the Royal Court (RC), in particular, Jez Butterworth’s Jerusalem, and the journey of Jerry Springer, The Opera from scratch theatre to the WE. Citing Frank Parkin’s model of ‘social democracies’, it will be explored how far and in what ways these examples of controversial theatre abide by the ‘dominant system’ established in the WE: of palatable, long-running musicals.5 By focusing on modes of controversy, the idea of celebrity, processes of production and critical response, this essay will determine whether Springer and Jerusalem abide by a ‘subordinate system’, and thus comprehend and comply with the dominant, or whether they are being ‘radical’ and oppose any sense of a normative status, deviating too far from audiences’ ‘horizon of expectations’. -
Fist of Fun Press Release
Fist of Fun Press Release Fist of Fun was on TV in 1995. And since then, despite the popularity and artistic credibility of its writers and stars Stewart Lee and Richard Herring, it has never been repeated, never been released, and never been included as part of those 100 best sketch programs that turn up from time to time. So finally, on 6th December 2011, Go Faster Stripe will be gambling its economic future by putting that right, and releasing a four disc set of the first series. Late last year GFS heard that the BBC’s DVD making department had a meeting where they decided “neither Sales nor Marketing believed that Lee & Herring had much sales potential in the current market” leaving the door open for an idiotic independent producer to licence the material. So Stew and Rich clubbed together with Go Faster Stripe and stumped up the money and bought the rights. And they have made a beautiful thing. The set contains all the episodes, each with commentary tracks from Rich and Stew. And there’s a couple of commentaries from Kevin Eldon and Ben Moor too. There’s the unbroadcast pilot episode, a modern day interview with the pair as they go though a box of 90s memorabilia, and there’s even the disappointing live show recorded at the height of their TV fame. On discs 3 and 4 – in what they think is a first – they have included all the surviving studio tapes from the show recordings. That’s all the retakes, all the between take banter as well as a load of deleted scenes. -
TV Go Home Pdf Free Download
TV GO HOME PDF, EPUB, EBOOK Charlie Brooker | 112 pages | 04 Nov 2010 | FABER & FABER | 9780571272198 | English | London, United Kingdom TV Go Home PDF Book January 26, August 6, Explicitly confrontational version of Antiques Roadshow. November Learn how and when to remove this template message. New year! Sign in to check your email and manage your internet features. Help Learn to edit Community portal Recent changes Upload file. External Sites. Savage, satirical, surreal, and frequently incredibly stupid, this book should make you laugh out loud. What should I do? It was written by Brooker, among others, and directed by Tristram Shapeero , who also directed the controversial Brass Eye special on paedophilia. Nevertheless, the overall standard is pretty good, so even though The Best Of TV Go Home is not an unmissable show, you probably won't be disappointed if you end up watching it anyway. TVGoHome's most consistent target, however, was fictional. But, that doesn't stop us enjoying the hilarious archive. However, the highly surreal nature of the humour make this programme a bit hit-and-miss in terms of comedy value, and while some parts are completely inspired The Flailers , others are quite uncomfortable to watch Simon Doyle. I recommend clicking the second-up row and second-up column so, the bottom-left-most cell, but one up and to the right , then searching every three up and right. I forgot my password. Sorry we can't access. Retrieved 14 January Full Cast and Crew. Robin Savage rated it really liked it Mar 31, Explore voice features Voice call settings Voice equipment Voice Mail. -
Film 1011 Outstanding Debut Nominee Biogs
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER NOMINATIONS 2010 (presented in 2011) CLIO BARNARD (DIRECTOR), TRACY O’RIORDAN (PRODUCER), THE ARBOR The Arbor tells the true story of Bradford playwright Andrea Dunbar (The Arbor, Rita, Sue and Bob Too) and her daughter, Lorraine. The film consists of actors lip-synching to genuine interviews with other members of the Dunbar family and their neighbours, intercut with footage of a live outdoor performance of her first play on the estate where she lived. Clio Barnard is an artist filmmaker whose work has been shown in cinemas, film festivals, galleries and on television. Her previous work, including several short films, has been concerned with the relationship between fictional film language and documentary. She grew up near Bradford, in the same area as Andrea Dunbar. Tracy O’Riordan worked as a drama development executive and story editor before moving into physical production. Tracy line-produced Song of Songs and was part of the production team on the BAFTA-winning The Queen. Tracy also oversaw the development and production of three micro-budget feature films for Digital Departures, including Terence Davies’ Of Time and the City. BANKSY (DIRECTOR), JAIMIE D’CRUZ (PRODUCER), EXIT THROUGH THE GIFT SHOP Exit Through the Gift Shop is a documentary about Thierry Guetta, an LA-based French filmmaker who had been assembling a documentary on street art in which he wanted Banksy to feature. When the two met and became friends, Banksy convinced Thierry to put down his camera, hand over his tapes and allow Banksy to finish the film, which charts Thierry’s unlikely transformation into a street artist himself. -
British Comedy, Global Resistance: Russell Brand, Charlie Brooker
British Comedy, Global Resistance: Russell Brand, Charlie Brooker, and Stewart Lee (Forthcoming European Journal of International Relations) Dr James Brassett Introduction: Satirical Market Subjects? An interesting facet of the austerity period in mainstream British politics has been the rise (or return) to prominence of an apparently radical set of satirists.1 Comedians like Russell Brand, Charlie Brooker and Stewart Lee have consolidated already strong careers with a new tranche of material that meets a widespread public mood of disdain for the failure and excess of ‘global capitalism’. This can be seen through Brand’s use of tropes of revolution in his Messiah Complex and Paxman Interview, Brooker’s various subversions of the media-commodity nexus in Screenwipe, and Lee’s regular Guardian commentaries on the instrumentalisation of the arts and social critique. While radical comedy is by no means new, it has previously been associated with a punk/socialist fringe, whereas the current batch seems to occupy a place within the acceptable mainstream of British society: BBC programs, Guardian columns, sell out tours, etc. Perhaps a telling indication of the ascendancy of these ‘radical’ comedians has been the growing incidence of broadsheet articles and academic blogs designed to ‘clip their wings’. For example, Matt Flinders has argued that Russell Brand’s move to ‘serious politics’ is undermined by a general decline in the moral power of satire: 1 Numerous people have read and commented on this paper. In particular, I thank Erzsebet Strausz, Lisa Tilley, Madeleine Fagan, Kyle Grayson, Roland Bleiker and Nick Vaughan-Williams. The idea for the paper arose in a series of enjoyable discussions with Alex Sutton and Juanita Elias and I am grateful for their encouragement to develop these ideas. -
Heard the One About the Right-On Comics Who HATE the Funniest Man in Britain? | Mail Online
Heard the one about the right-on comics who HATE the funniest man in Britain? | Mail Online Find a Job Dating Wine Our Papers Feedback My Tuesday, Jul 19 2011 3AM 9°C 6AM 11°C 5-Day Forecast Stories Home News U.S. Sport TV&Showbiz Femail Health Science&Tech Money Debate Coffee Break Travel Rewards Club Debate Home News Board Sport Boards Showbiz Boards Femail Boards Health Boards Money Boards Polls Columnists Login Heard the one about the Quick Find Message Boards right-on comics who HATE Choose Message Board the funniest man in Britain? OUR TOP 10 BREAKING VIEWS PETER MCKAY: Sucking up to the Sun King Nice guy Michael McIntyre is a sign of The Times ANDREW PIERCE: Why Vaz makes a most endures jealousy of rivals unlikely moral crusader By JAN MOIR PATRICK MERCER: Sack the civil servants - Last updated at 2:17 AM on 19th July 2011 not our brave soldiers MELANIE PHILLIPS: If Miliband is such a Comments (0) Add to My Stories Share Like Confirm hero, why won't he tackle the REAL threat to way of life - the BBC? At this very moment, Michael PETER HITCHENS: What do YOU think is McIntyre is Britain’s most worse: Phone hacking or buying votes with successful and popular comedian. blood? Without question, he is the number WILLIAM REES-MOGG: The eurozone has a one funny guy out there. Everyone choice: Split up or die loves Michael. Or, as we shall see, JAMES FORSYTH: After Rebekah, it’s lunch nearly everyone loves him. not dinner at No10 His smiley, currant-bun face and LIZ JONES: Prison is for killers, rapists, floppy hair are instantly bankers - not stupid students recognisable. -
Anger Management Breaks Records on Uk Premiere
ANGER MANAGEMENT BREAKS RECORDS ON UK PREMIERE London, Thursday 13th September, Comedy Central UK announces that Anger Management starring Charlie Sheen has broken previous Comedy Central ratings records for a new title on its UK debut; becoming the top ranking General Entertainment channel above Sky 1, ITV 2, BBC 3 and E4. Anger Management premiered on Comedy Central on Wednesday 12th September averaging 344,000 individuals for the first episode while episode 2 of the double bill achieved 310,000 The Anger Management double bill episodes were up +169% on the slot average for 1634 Adults, making Comedy Central bigger than BBC One in Pay TV homes over the hour while versus Adults in Network homes, it was the top ranking GE channel, beating Sky 1, ITV2, BBC Three and E4. Comedy Central UK has grown 82% since launch helped by Sheen’s previous sitcom Two and a Half Men which now stars Ashton Kutcher. Two and a Half Men season 10 returns exclusively to Comedy Central just four days after US TX on Monday 1st October. Chris Collie, Director of Programming, Comedy Central UK said: “We’re glad so many people joined us to laugh along with Charlie Sheen’s latest adventure” Anger Management kick starts Comedy Central’s stellar autumn line-up which includes the second series of local commission, Threesome (Big Talk Productions), alongside the most talked about U.S. shows – The Daily Show, South Park, The Office, Mike & Molly and Two and a Half Men. Anger Management is produced by Lionsgate Television in conjunction with Roth and Totino’s Revolution Studios, Burg’s Evolution Entertainment, Helford’s Mohawk Productions, Inc. -
Just Joking: Speech, Performance and Ethics
1 Just Joking: Speech, Performance and Ethics by Emma Bennett A Thesis Submitted for the Degree of PhD Queen Mary University of London School of English and Drama September 2016 2 STATEMENT OF AUTHORSHIP I, Emma Bennett, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Emma Bennett Date: 23 September 2016 3 ABSTRACT Why do people go into rooms to watch other people speak? What is it that is taking place when a performer walks onto a stage, or steps up to a microphone, and, in the silence that has fallen, begins to speak? This thesis considers both the pleasures and the anxieties that attend such public acts of speaking, and responds in particular to the kinds of utterances that announce themselves as in some way ‘non-serious’. -
Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011). -
PDF EPUB} Content Provider by Stewart Lee Stewart Lee - Content Provider | Belfast
Read Ebook {PDF EPUB} Content Provider by Stewart Lee Stewart Lee - Content Provider | Belfast. Stewart Lee - Content Provider | Belfast Waterfront and Ulster Hall | Thursday, 28. September 2017. After four years writing and performing his TV show Stewart Lee’s Comedy Vehicle, Content Provider is Stewart’s first brand new full-length show since the award-winning Carpet Remnant World. “The most consistently funny show of his brilliant career… I laughed till it hurt.”★★★★★ The Times. “Characteristically twisty and frequently brilliant”★★★★ The Guardian. “Venomously funny”★★★★ Standard. “The delusional ravings of a man who has lost his way in the world”★★★★★ Mail on Sunday. 'A majestic creature in slow, obvious and painful decline' Stewart Lee had promised to write an article for Chortle about the imminent airing of his stand-up special on BBC Two. But his publicist told us he was far too busy doing the washing and the ironing to submit anything. So instead we have secured the services of comedy archivist Ewal Street, of www.goodbyemotherinlaw.com, to assess the show… In his new television stand-up special, Content Provider, Stewart Lee hurls himself around a rubbish-strewn stage in Southend-On-Sea for two patience-draining hours, visibly struggling for breath as he rages against digital media, Brexit, Trump, his own audience, all other comedians, and ultimately himself. Employing his trademark neuro-linguistic crowd manipulation, and all the camera-savvy tricks he developed for his TV series Comedy Vehicle, Lee achieves a four-dimensional rendering of the stand-up experience never before seen on the flat plane of television.