Series 2 of Chewing Gum sees Michaela Coel nail the ‘two series and out’ trajectory of some of the best British sitcoms
“I’m not 17, I’m a grown-up woman. I just…regularly make childlike mistakes”
I belatedly came to Chewing Gum just now and watched both the first series and this second one in a single sitting each, their addictive nature and too-easily bingeable lengths giving me two fine nights in front of the TV.
Writer and creator Michaela Coel rarely let her imagination get in the way of the first six episodes but here, the expansion of Tracey’s world beyond her Tower Hamlets estate is quite simply fucking hilarious. Plus, the marvellous Sinéad Matthews appears in this series too. Continue reading “TV Review: Chewing Gum (Series 2)”
In the spirit of Black Lives Matters and an inspiration from Noma Dumezweni, I’m turning my attention to the TV shows, I haven’t gotten round to watching that I should have done by now, starting with Michaela Coel’s Chewing Gum
“Do you want a Fruit Pastille?”
Michaela Coel’s comedy show Chewing Gum was born out of her play Chewing Gum Dreams which played in the Shed at the National Theatre in 2014, a rare moment when a monologue like that could be programmed at a theatre like that. I didn’t catch it then and on the evidence of this first series, the loss is most definitely mine.
A proper British sitcom (6 episodes, no fuss), the show stars creator and writer Coel as Tracey, an East London shop assistant in her early 20s who is determined to cast off the shackles of her religious upbringing and learn about the world. Oh, and she really really really wants to get some. Continue reading “TV Review: Chewing Gum (Series 1)”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
“Sod ‘name in lights’, you’re an app now my brother”
On the sixth day of Christmas, Black Mirror gave to me…the always welcome Tobias Menzies
It’s little surprise that Black Mirror returns to the world of politics in The Waldo Moment given how effectively it skewered its contemporary shallowness in The National Anthem. Here, the focus is larger than just the Prime Minister, centring on a protest vote movement that builds up around Waldo, a profane animated bear who interviews celebrities disarmingly in an Ali G-like manner.
Waldo’s latest victim is Tobias Menzies’ insidious prospective Tory MP Liam Monroe and when an encounter between the pair goes viral, the powers-that-be behind the cartoon decide to enter him into the by-election. But the man who voices and plays Waldo via motion capture technology is far less convinced, failed comedian Jamie (Daniel Rigby) has no confidence in himself and as the public get thoroughly behind this new anti-establishment candidate, he finds it harder and harder to disentangle himself. Continue reading “12 Days of Christmas – Black Mirror 2:3”
“The march is coming…”
Ruth is refusing to come to terms with the recent past and the reality of her life now; Dennis finds himself trapped in a sordid mess very much of his own making; Malcolm is struggling to balance caring for his sister with trying to live his own life. The stories of these three people and how the personal affects and defines the political, often to extreme levels as a race riot approaches, make up The Biting Point, a new play by Sharon Clark playing at Theatre503 in Battersea, directed by Dan Coleman.
Read the rest of this review at Broadway World [link opens an external site]