United - The Tale of a Team Overcoming Tragedy

This review can also be found on Step2Inspire.

I’m not much of a football fan. In fact, whenever I do happen to watch it, I don’t see the ‘beautiful game’, I see 22 millionaires ruining a perfectly good lawn. However, I tuned into United last night because it promised to be brilliant (and I can never resist something that promises nothing but brilliance!). It certainly didn’t disappoint.

Based on the true story of Manchester United’s “Busby Babes” and the Munich air disaster of 1958, United stars David Tennant as coach Jimmy Murphy, Jack O’Connell as Bobby Charlton and Sam Claflin as star-player Duncan Edwards. The film is inspired by the interviews with the survivors of the Munich air disaster, which claimed 23 lives including 8 members of the team, and follows the team in an inspirational story overcoming this tragedy.

The film starts off by following a young Bobby Charlton in his efforts to join the team, neatly setting up a friendly atmosphere with the other players through pub banter and training sessions. However, this only sets you up for the devastation of the disaster that proceeded their success in Munich, because at the heart of this piece lies the tragedy that claimed so many lives, leaving only four members of the team able to play.

The scene of the crash was incredibly atmospherically done, with people silently making their way out from the wreckage, taking account of the disaster, to the eerie and melancholic soundtrack. The whole thing was made all the more emotive with the initial two failed take-offs, showing the passengers becoming increasingly concerned, and sufficiently putting me off boarding a plane for at least 4 months! It was both brilliant and hauntingly real.

Although each individual performance was incredibly strong, Tennant’s performance shone through the whole piece. I have always stated that David Tennant is a Herculean exemplar of emotional performance, and his delivery is so profound and genuine that it touches the viewer just as deeply. He has a remarkable way of remaining stoical whilst also managing to show a degree of the emotion within, and then being able to fall apart just as brilliantly. Whether he’s having a laugh with the lads down the pub, or falling to pieces at the foot of the hospital stairs, Tennant’s portrayal as Jimmy Murphy truly draws you into the piece and makes you feel the tragedy. Another spectacular performance from a spectacular actor!

United is one of many new dramas coming to the BBC, and 2011 marks the rebirth of TV dramas for the Beeb following a major investment in BBC drama. If we’re to see more poignant dramas like this in the coming months, it’s going to be a grand year!

If you missed United on Sunday night, it is available on iPlayer here.

Doctor Who - The Impossible Astronaut Review

This review can also be found on Step2Inspire.

Last night, every sane person across the country sat down at 6 o’clock and turned on BBC One to view the premiere episode of the 6th series of the revived Doctor Who. As a self-professed fanatic of the Doctor Who franchise, I was one of these people. The series kicked off with a bang, quite literally, as within the first ten minutes the Doctor is shot and killed (proper killed, not dead-but-regenerating killed) by a mysterious assailant clad in an iconic Apollo 11 space-suit. “Interesting opening,” I thought, “killing off the title character and making it clear that he is indeed irrevocably dead. Let’s see how it pans out!”

The next five minutes revealed that the dead Doctor was in fact a future version of the Doctor. 200 years in the future to be precise, but how he had managed to still be incarnated as Matt Smith after 200 years is a mystery - especially as his longest time without regenerating was 7 years! Anyway, with the foreknowledge of the Doctor’s death, Amy, Rory and River have to keep this pre-destined future hidden from the Doctor for fear of invoking a paradox, but still prompt the Doctor onto the path his future self had suggested they should embark on. That is, to make their way to Washington in 1969.

The ensuing narrative focussed on Richard Nixon (which, thankfully, was not a comedy impersonation!) receiving obscure phone calls from a child being terrorised by an astronaut. However, by far the more intriguing aspect of the episode was the appearance of a foe we’ve been informed of since the beginning of last series - The Silence.

The Silence (Silent, singular) are a race of beings that are reminiscent of the figure in Edvard Munch’s The Scream wearing snazzy slim-line suits. It is implied that the Silence have been on Earth for a very long time, silently manipulating things behind the scenes using possibly one of the most clever techniques since the Weeping Angels… You forget you have seen them the very second you look away from them. At least with the Angels, you knew they were able to hunt you if you couldn’t see them, but with the Silence you even forget they may be a threat, and you’re only left with a vague sense of uneasiness as a sign of their presence.

The episode concludes on (as one would expect from a two-parter) a cliffhanger, with Amy blurting out that she’s pregnant at possibly the most inappropriate moment possible, Rory and River facing an indeterminable fate at the hands of the sharply dressed Silence, and the now-ominous Apollo 11 astronaut reveals itself to be the very child it’s terrorising. Cue end credits. Way to keep us waiting, Moffat!

The TARDIS-esque interior of a spaceship last seen in series 5 episode ‘The Lodger’ also appears towards the end of the episode, adding intrigue to what the Silence actually are (seeing as they appear to be in possession, if not the originators, of it) and showing just how deep Steven Moffat’s going with these storylines. He’s clearly had these ideas stored in that brilliant head of his for quite some time, and is slowly seeping information into each episode, either answering or raising questions and pacing it appropriately. Although some may find this a rather slow opening episode, I have a feeling that it’s episodes like these that carefully weave important aspects of the series ahead.

Whilst all may not be abundantly clear at the moment, Moffat is a cunning man, and each unusual moment or split-second scene is completely intentional, whether we know it yet or not. I’m reminded of the moment in Flesh and Stone, in which the Doctor (not wearing tweed jacket) walks out of shot, and soon enough returns for a close up shot with Amy pleading her to ‘remember’ (this time, the cuff of his jacket is visible). At the time, my friend thought this was one of those accidental TV gaffs, the result of several different shots being taken and accidentally blending jacket and non-jacket shots. I maintained it was probably a clever timey-wimey plot device, and sure enough in the concluding episode of the season it was revealed the Doctor skipped back over time to encourage Amy to remember him.

Admittedly, I only knew this because I had seen the episode ahead of time by quantum leaping a month into the future, but that’s just one of the many perks of being a time traveller!

In conclusion, whilst it was not the most action packed episode, it was a ponderous opening to the series, certainly paced itself well and sewed the seeds for the following twelve episodes. Patience is a virtue, and in the case of Moffat’s writing I think it pays off in the end, as all will become clear eventually and can fully be appreciated in it’s entirety with hindsight.
I’m certainly looking forward to seeing where the rest of the series takes us.

SciFi Fans Invade London and the Doctor Returns

It is no great secret that I am somewhat of a fanatic when it comes to Science Fiction. Whether it’s the complete collection of Stargate DVDs, the Dune novels of Frank Herbert that adorn my shelves, or the Dalek that stands proudly on my desk (don’t judge me!), it is evident that my life is embroiled in a galaxy of SciFi. Has it made me a complete geek? Quite possibly, but my understanding of Warp theory has nothing to do with this article.

This weekend sees the commencement  of the 10th SciFi London Film Festival which will run from the 23rd April to 2nd May. Regrettably, I won’t get the chance to attend the vast majority of the events to properly cover the festival, but I certainly hope to be able to catch one or two of the premieres during the week. Tragically, I will have to miss the SciFi Easter Parade on Sunday… Which is a shame really, as the sight of numerous costumed SciFi fans on parade would make me feel like much less of a nerd! That is, unless I joined in. Which I almost certainly would.
The parade will be running from Waterloo Bridge/National Theatre at midday, passing through Jubilee Park and ending up at Westminster Bridge. If you fancy watching Stormtroopers and Cybermen escorting Zombified Prince William and Kate Middleton this is the parade for you! (Presence of Stormtroopers and Cybermen is purely hypothetical, although I am reliably informed that there will indeed be a Zombie representation of the royal couple…)

SciFi London plays host to a series of Science Fiction related events, screening the premieres of up and coming films in the genre, as well as showing some old classics, stand up comedy, real world gaming, and documentaries. The event is also populated by directors, writers, cinematographers and of course a wide variety of geeks, ranging from those vaguely interested in film and SciFi to those with prosthetic Vulcan ears and an iconic Starfleet uniform (which, coincidentally, I’m wearing as I write this). Whether you are an up and coming writer or director with a penchant for SciFi, or a connoisseur of the genre, this is the event for you.

More details on SciFi London can be found here.

Another important event in SciFi this week is the return of Doctor Who to our screens, 6pm Saturday 23rd, kicking off with The Impossible Astronaut. It will be the first half of a two-parter in which the Doctor (Matt Smith) and his time-travelling companions Amy (Karen Gillan) and Rory (Arthur Darvill) travel to America and are reunited with the enigmatic River Song (Alex Kingston). This will mark the beginning of Steven Moffat’s second year as lead writer for Doctor Who, and also the second year of  Smith starring as the eleventh incarnation of the titular role as the Doctor.

It will also be the 6th series since the legendary show of the 60s, 70s and 80s was revived in 2005 by former lead writer and executive producer Russel T. Davies. The show, much beloved by those who grew up with the original series, has since been given new life and a greater sense of vitality, recapturing the hearts of it’s initial fans and enchanting a whole new generation of viewers. When Davies initially set about reviving the series, who could have predicted that it would have been such an immense success?  I guess, much like it’s Time Lord protagonist, Doctor Who is timeless and a truly remarkable piece of television. The trailer for the new series can be seen at the bottom of this article.

I would also like to take the time in this article to mark the passing of Elisabeth Sladen earlier this week. She, like her leading Time Lords Jon Pertwee and Tom Baker, was a staple of Doctor Who history as arguably the Doctor’s most brilliant companion, Sarah Jane Smith. She was taken from this world too soon, and will be sorely missed.

“Goodbye, my Sarah Jane.”

Writer's Block and I

This article can also be found on Step2Inspire.

I’m a writer. More prominently, I’m a blocked writer. One of the primary tenets of writing is simply to write what you know, and seeing as my mind cannot conjure up anything more inventive, here it is: Writer’s Block.

Writer’s block is by far one of the most common blights to plague a creative mind, descending on the victim like a blank veil, completely impeding the artists ability to be creative. As I sat in front of the computer, gently swilling a glass of sauvignon blanc, the smooth aromatic smoke from my cigar filling the room and the lilting piano chords of Phillip Glass‘ Metamorphosis One drifting from my speakers, I attempted to resume writing the script I’ve been working on for a while now. I spent a good half an hour staring at the white void of Microsoft Word, that ever-expectant cursor blinking patiently as it awaited my first clumsily typed word of the day.

As time ticked by, my efforts turned to apathy, my Word document to an episode of Caprica (fantastic spin-off series of Battlestar Galactica, highly recommended!), and any motivation I initially had by now had become an overwhelmingly compelling desire to either trawl YouTube for undiscovered wonders or to simply turn on the PS3. I’m no stranger to writer’s block, it frequently visits me like an unwanted friend you just can’t get rid of and once they leave you seem to have much less alcohol than you did before their arrival. This instance was no exception.

A while back there was a discussion on a creative writing forum I used to frequent, dedicated to writer’s block and how people attempt to rid themselves of it. I found it quite an interesting read, as everyone seemed to have their own form of cure for the accursed lack of creativity.

1) Make a sandwich. Whilst this may seem trivial, taking a step back and making a sandwich whilst thinking about your writing can be a useful way to help the flow of creativity. Plus, lunch.

2) Watch TV/Play Video Games. Sometimes an idea from somewhere else can generate a spark of inspiration. Alternatively, it can distract you from the stress of not being able to write, allowing ideas to flow more freely and come to you as and when.

3) Listen to music appropriate for what you are writing. Music always helps create an ambience, and if you can find the right piece of music for your vibe, whether it’s you as a person or what you’re writing, it should certainly help inspire you.

4) Go for a drive. There’s something very therapeutic about driving, and several writers I know have been flooded with ideas whilst out for a drive. It will also provide you with a change of scenery, which will get your mind out of a stagnant and uninspired routine.

5) Go for a walk. As with going for a drive, it can provide you with different surroundings. Fill your lungs with fresh air, and wander about for a bit - it can aid your mind in thinking clearly.

6) Exercise. The next step up from walking. An active body leads to an active mind. Scientifically speaking, endorphins help stimulate the brain, and with increased neural-connectivity will come increase creativity.

7) Relax. Take your mind off of the subject for a while, give yourself a break, and come back to it later. Do whatever you find relaxing and the inspiration will come when it’s ready.

At the end of the day, I concluded, it all comes down to not working your brain too hard, taking your mind off of the writing and get a change of scenery. Inspiration has a funny way of striking when you least expect it, be it the middle of the night, out walking in the park, or simply making a sandwich - the less you concern yourself with the block and the more you relax, the easier the creativity will flow. As writer’s block doesn‘t have an objectified and quantifiable cause, there‘s no magic cure for it that will work for everyone. Everybody has their own muse, their own methods of relaxation, unique ways of combating writer’s block, it’s just a matter of finding what works for you.

Personally, I find a strong coffee, a book of sonnets and tickling my chin to stimulate new thoughts works a treat!

Arts Council Cuts - How Will They Affect The Industry?

This article can also be found on Step2Inspire.

I had wanted to review either Campus or The Crimson Petal And The White, but with the recent cuts announced for the UK Arts Council, and more than 200 arts organisations losing their funding, I felt it would be more fitting if I were to write about that first. Severe cuts have been made to London’s Riverside Studios, the Shared Experience theatre at Oxford Playhouse, and the dance companies The Cholmondeleys & The Featherstonehaughs (pronounced Chumleys and Fanshaws, oddly enough…) to name but a few. Seeing as the arts are so deeply ingrained within our culture and provide a valuable source of revenue and tourism, I decided to investigate further just what these cuts mean for the Arts Council, and where it might lead us in the future.

As an aside (just before I get going!), I’m quite fond of The Cholmondeleys & The Featherstonehaughs. One thing I learnt from them, back when I was studying the post-modern choreographic style of Lea Anderson, was that throwing things out of a tent to a rhythm counted as dance. Post-modern, but dance nonetheless, and I couldn’t help but feel that if I had been made aware of this sooner I may have considered a career as a dancer. In fact, I have a sizeable repertoire of post-modern dance, including throwing things out of tents, cars and windows, throwing things into bins, baskets and tents again, and tripping over uneven slabs of concrete resulting in my own curious rendition of Swan Lake as I attempt to regain my balance. Perhaps when I’m next out clubbing I should take along my camping gear and set about throwing things in and out of a tent - at the very least it will detract from the fact that my dancing style is similar to that of Carlton in the Fresh Prince of Bel Air… (Perfect Example Here).
But I digress.

Chief executive, Alan Davey, has insisted that the cuts do not mean ‘equal pain for all’ but more of win-some-lose-some situation. While some are definitely starting to feel the Arts Council cuts, approximately 110 new organisations have been accepted into the national portfolio and are to receive regular funding, so it’s not all bad news for the arts. The summary of the situation is that the Arts Council has had 29.6% of it’s budget cut, resulting in a remix of the national portfolio. Some have received a boost in funding (the Arcola theatre in Dalston, London, has received an 89% increase in funding) while others have gone down, such as the Almeida in Islington, London, which is losing almost 40% of its budget.

Evidently there are going to be mixed feelings about this. Some of those previously unsupported companies have received a substantial boost (yay) and those previously receiving funds have been cut altogether (boo). I think that neatly encapsulates the whole tone of the deficit - some will benefit, others won’t. Whilst this is somewhat inevitable for any society when it’s economy is in decline, I still can’t help but feel perhaps there is an alternative to cutting almost 30% of the Arts Council funding, like say, I don’t know, scale the banker’s bonus down a little bit, or increased tax on the rich? Just a thought, but hey, I’m no politician, perhaps it’s not as simple as that!

Regardless, having looked into the situation further (rather than blindly ranting without any substantial facts as I had initially intended!) it is by no means the crushing blow to our culture I had anticipated.
In the end, all this means is that the organisations that have now been taken on by the Arts Council can afford to be a bit more experimental and stretch their wings, whilst others will be relying more heavily on ticket revenue and private sponsors. I just hope that this is not the shape of things to come, with further cuts down the line now that the gates to reducing arts funding have been opened.

Thankfully, I know of quite a few performers who are willing to be a little out of pocket to help ensure that their production can continue despite these cuts, but I fear that this will also mean that the Cholmondeleys and Featherstonehaughs can’t be so reckless when emptying their tents on the cliffs of Dover - we all know that the Government certainly won’t be replacing your sleeping bag any time soon!

(Since writing this, Patrick Stewart, Maxine Peake, Samuel West and Penelope Wilton have delivered a letter on behalf of Equity to 10 Downing Street calling for an arts summit regarding the recent cuts. More can be read on the matter here.)