Posts Tagged ‘ #telosvision ’

#telosvision: the good, the bad and the ok

greetings

in the month that we took off to do secret important things, the calendar changed from ‘summer’ to ‘autumn’ which can only mean two things: 1) slippery leaves, bonfires, conkers, mists and mellow fruitfulness and 2) there is a whole new lineup of TV to enjoy.

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before we get stuck into the meat and two veg of the new ones, i thought i’d do a small round up of what i’ve been watching over the last few months, just so that we’re all on the same page:

Louie: the first season of Louis CK’s new sitcom premiered on American FX over the summer and it went down a treat in the penthouse. despite a couple of fairly unwelcome up-pops from Ricky Gervais – who once again proved his immense range by playing a tactless, annoying, English nob-end – here at RQT we reckon it was something of a triumph. look out for it on DVD fo’ shizzle. the good

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This Is England ’86: this has already had a mention, but i thought i’d put it in here anyway. like two Crunch Corners it was rough in some places and sweet in others, but overall truly a treat in four parts. the good

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Sherlock: Mark Gatiss and Steven Moffat’s twenty-first centuried mini-series with Benedict Cumberbatch and Martin Freeman was something of a mixed bag. given the hype and the liberally apportioned praise that it received, i was left a little underwhelmed. the main problem with it was the fact that it couldn’t be both realistic and set in a world where Sherlock Holmes never existed and his literary legacy never changed the shape of the public imagination. you just can’t do modern investigative fiction without the legacy of Holmes and Watson. from where i was sitting it was fine, but ultimately a bit meh. the ok

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Entourage: despite being only ten episodes, season 7 was a welcome return to form for the guys and gals of LA town. why they’re only making six episodes for the next season i’ve no idea. we got cameos from Nick Cassavetes, John Stamos, Jessica Simpson, Queen Latifah, Stan Lee, Mike Tyson, Aaron Sorkin, Randall Wallace, Bob Saget, Mark Cuban, Christina Aguilera and Eminem, as well as season long performances from Sasha Grey and, most excitingly, the insanely attractive Dania Ramirez. A sad tone to the season overall. lots of destruction, but hints that things may come right for Drama and Turtle, if not for Ari and Vince. E was as boring as ever. the good

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Treme: i enjoyed Generation Kill, but wasn’t blown away by it, so i wasn’t sure what i was going to make of this new offering from David Simon. i’m glad to say, however, that it was in every way as good as i would hope a series about the music, culture, death and rebirth of New Orleans would be. the deep spirit of NOLA was alive and well in the fabric of every episode and the script, acting and music were just superb. it’s too early to watch it again yet, but hopefully soon it won’t be, so that i can. if The Wire is about power, fear and greed then Treme is about hope. if you didn’t catch it on HBO, find it and watch it asap. the good

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so … now we’re up to speed, let’s have a think about some of the newer stuff that’s around:

House: so, they finally did it. and now it’s all about the boring making it work stuff. after the dramatic end to season 6, the run-of-the-mill-ness of season 7 is something of a comedown, but at least we have a new title sequence. i like House, but i honestly don’t think this season is going to grip me – i’ll be dipping in and out. the good

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Boardwalk Empire: one of HBO’s new season big hitters comes courtesy of Martin Scorsese and Mark Wahlberg and sees Steve ‘Shut the fuck up Donny’ Buscemi, Michael ‘I just look like a young Leo DiCaprio’ Pitt and Kelly Macdonald, among others, inhabit the murky, but sharply dressed world of Prohibition era Atlantic City. while i’ve not yet been blown away, i think it might have some legs. the good

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The Whole Truth: while it’s great to see the lovely Maura Tierney back on the tellybox after having successfully battled with breast cancer, i fear that ABC’s new courtroom drama is probably not going to end up making it into her ‘keepers’ box. it pits Tierney’s prosecution attorney against a defence lawyer played by the cop/normally-smart brother from Numb3rs in a ‘the way we want to beat each other in court reflects our obvious attraction for each other’ style cliche fest. however, the worst thing by far about the first episode was the way that it couldn’t resist using the last 5 seconds to remove all doubt about whether the convicted teacher really did kill his student and then carve chinese symbols on her dead body with a crucifix. why can’t the American public deal with even an ounce of ambiguity? the bad

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Spooks: yeah, the world’s most overworked intelligence officers are back. Ros is still dead, so a new woman has joined the team in the usual no interview, no questions asked kind of way. she looks like Kathy who used to be on EastEnders. Lucas is really called John, apparently, although we don’t yet know why. Harry just won’t have that inevitable heart attack, even after Ruth spurned his advances at Ros’s funeral. funerals eh, they give me the horn too. I guess that time when her husband got all shot is still playing on her mind. i still miss Malcolm, the new geek is terrible. the good

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Mad Men: some people are beginning to murmur that they don’t like season 4. i do like it. it’s fun to see everyone’s lives fall apart. Roger is a cockend and deserves to be hated. he will likely die soon leaving his annoying wife-doll to sling her stupid hook. the new Peggy is nicely spunky and it’s good to see Don’s veneer starting to crack. i still don’t like the new offices though, and i miss Sal. the good

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Pointless: yes, they made a new series of the dr’s and my favourite afternoon quiz show, and we are straight back in the groove of TiVoing it and watching it at teatime. Alexander Armstrong is a really good host and the banter between him and the answers-man Richard is verging towards classic. the fact that they zhooshed the format and changed the way several of the rounds work has detracted a bit from the pure experience of the first series, but we still like it. things do, however, get depressing when they have really stupid people on – so far in the new series there have been people who’ve thought that Hampshire, Orlando, Newcastle and Mexico were all US States. a preponderance of really camp men on this series too (obviously not a judgement, just an observation). the good

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Genius: another programme that’s had its format all messed around. the new way of doing things is frankly crapola. the whole point of genius was that it took itself too seriously, but now it’s like it’s trying to be too ironic about how it used to be so serious. this new approach pretty much makes everything a joke and is basically dull. the bad

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The Rob Brydon Show: “i can do impressions of Ronnie Corbett and Tom Jones – would you like to hear them?” we’re just all going to have to get used to that and that’s that. i basically like Rob, but he can be a bit samey. with good guests he’ll be fine though. to be honest, i’m surprised he has any time to film it the amount of adverts he does the voice for. already better than fawning, overpaid, boring, comic loving Wossy. Four Poofs and A Piano are missed though. the ok

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The Inbetweeners: why do people like this? i watched the first two episodes when it started and thought it was proper bollocks and that it would disappear gracefully, but instead it’s not, and now everyone seems to think they need to pretend to like it. i actually began thinking that maybe i was the one who was wrong, so i watched another two episodes of the new series. i am not wrong. it’s terrible. for a start, these are clearly 27 year old men pretending to be at school with zero apparent irony – it’s The History Boys all over again. then there’s the main one’s stupid grinning, squinting face and sniffy, posh voice. arrrrrggh, he’s so awful, i hate him. then there’s all the really bad jokes. in the four episodes i’ve watched, i haven’t even smiled, let alone laughed – not even once. the bad

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#vidiotic: sans everything

it has come to my attention that there are some people, friends of mine even, who remain unaware of Fist Of Fun featuring the man once voted 41st best stand up ever Stuart Lee and Richard ‘i just want to get back on the telly’ Herring alongside the actor Kevin Eldon, Peter Baynham and several other humans. how? why? or what on earth these ignoramuses did on Thursday nights in the spring of 1995, are all intriguingly beside the point, but their loss is not.

if you like laughter, then you should know about this show – seek what remains of it out. it ran for two serieses, or, for pedants, seri,, and was known at the time for, and is still described in terms of, its lack of preparation and generally poor production quality. although it got several tens of sheds worth of views, this was back in the day when TV had to be seen to be well made as well as popular, and someone decided this wasn’t. now we have Horne and Corden and Hole In The Wall.

here is a clip from the last episode of series 1, featuring the death of my favourite character the real Rod Hull (he is him). watch it closely – there will be a quest.

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#hagiograph: in praise of… adam curtis

it’s not that many people who could go from teaching politics at Oxford to writing and researching for a TV magazine show specialising in consumer complaints items and segments about singing animals or people who’ve memorised the phonebook, and come out the other side with reason to have their head held high. that is, however, exactly what Adam Curtis did. after the academic peaks and the That’s Life! troughs, he emerged as a brilliant documentary film maker.

working in TV he learned the skill and power of using montages of archive footage and this came to be the trait by which he is best known and by which his films are most easily recognised. following early work on a documentaries about post-war housing in Britain and America’s involvement the First World War, in 1992 Curtis made his first series Pandora’s Box.

Subtitled A Fable From The Age of Science, the six part series traced the spread of what Curtis sees as a deeply cynical and unhealthy scientism and technocratic rationalism, through topics as seemingly diverse as Soviet industrialisation, the discovery of DDT and British economic policy in the 1960s and 70s. Choosing to refer to the series as a fable, rather than several, Curtis demonstrated his commitment to and skill for drawing links between diverse areas and constructing powerful meta-narratives across episodic series as well as in stand-alone films. The thesis of Pandora’s Box is strong and well argued, but most of all it at no point patronises its audience by either skirting around the key ideas at play (however complex) or collapsing into over-didactism or incessant repetition, qualities which, for me, are Curtis’ hallmarks every bit as much as his choppy, voice-overed montages. Pandora’s Box won him the first of the three BAFTAs for Best Factual Series that he has been awarded to date.

Curtis followed this success with another series, the three part The Living Dead. First aired in March 1995, it is a moving and insightful examination of the political role of corporate and individual identity and the ideological power of memory. Emerging out of the horrors of WWII and shaped by the ultra-paranoia of the Cold War era, The Living Dead skilfully and seamlessly weaves together reflections on the personal and the political arenas. This is a theme that runs throughout Curtis’ work, that there is in reality no definite distinction between the individual and the social and that what we call ‘the political’ in essence covers the whole of human experience.

In 1996 and 1997 Curtis made two one-off films, 25 Million Pounds, a study of Nick Leeson and the collapse at Barings, and The Way of All Flesh, which recounts the incredible story of Henrietta Leanne Lacks, the woman whose cervical tumour turned out to contain ‘miracle’ cells that didn’t die and which became the HaLa cell line which was used to create the polio vaccine and has made (and is making) countless other research projects possible to this day. Both of these films won awards at the San Francisco International Film Festival.

1999 brought The Mayfair Set, a four-part series about how a group of ‘buccaneer capitalists’, all members of The Clermont Club, defined, under Thatcher, a new relationship between politics and business which shifted the power base and set the pattern that persists. It brought Curtis his second BAFTA for Best Factual Series and further consolidated the stylistic traits for which his films are now almost instantly recognisable.

Next Curtis made the film for which he is most well known and most widely lauded, 2002’s The Century of the Self. Examining the legacy of Sigmund Freud and the way in which the Twentieth Century systemically embraced the Freudian vision of personhood, it uses as its narrative thread the way in which Freud’s friends and family members shifted his insights into the fields of advertising and public relations and how, despite the unpopularity of his ideas in many quarters, Freud’s vision of the self became central to late 20th Century social and political discourse. Originally broadcast by BBC Four in four episodes, The Century of the Self went on to be shown as a feature film across the US, and besides bagging several significant documentary awards was named by Entertainment Weekly as the fourth best movie of 2005.

Curtis’ next series is, in my opinion, his most bold, challenging, impressive and prescient piece to date and has certainly proved his most controversial. The Power of Nightmares examined the role of mythology in contemporary culture and political discourse, positing links between the rise of radical Islam and radical Neo-Conservatism as two ideologies designed to unite what are perceived as fracturing national/cultural identities, fuelled by the use of grand propaganda and especially the manipulation of fear. Several of the series’ more challenging claims, such as that al-Qaeda, as an organisation, was essentially a creation of the American government, have been widely discussed and critiqued at the highest levels of journalism, cultural commentary and academic discourse. Curtis returned to and honed the archive montage style of Pandora’s Box, remarkably combining a challenging, artful sensibility with serious and probing political argument. To my mind The Power of Nightmares is a masterpiece of documentary film making and stands among the greatest pieces of television ever made.

In his 2007 series The Trap, Curtis revisited some of the themes of his earlier work, notably Pandora’s Box, and wove some old material along with new into an eloquent and persuasive thesis regarding the origins and nature of the anthropology that underpins late-modern capitalist and Neo-Liberalist concepts of the individual, the state and the economy. Examining the arguments of thinkers such as John Nash, R.D. Laing, Fredrik von Hayek, Frantz Fanon and Isaiah Berlin and the actions of ‘leaders’ like Reagan, Thatcher, Pinochet, Blair and Putin, The Trap is a compelling and hyperopic film which stands a close second to The Power of Nightmares in my reckoning.

At present Curtis mostly engages in lower profile work within BBC Current Affairs, but occasionally still produces films such as the three short documentaries that he made for Charlie Brooker’s Screenwipe and Newswipe and 2009’s It Felt Like A Kiss, a strange and beautiful multi-media montage piece produced in collaboration with Punchdrunk theatre company, Damon Albarn and Kronos Quartet, which draws on and expands Curtis’ montage and typographic aesthetic, but represents a departure from his usual straightforwardly narrative style and hard-hitting tone.

Curtis’ opponents, of which the right-wing broadsheets and Neo-Conservative think tanks are brimming, call him a propagandist, and conservative Americans in particular use him as one of the key pieces of evidence in the argument that the BBC is a hive of left-wing extremism, but for me he is far more than simply a producer of run-of-the-mill agitprop. His films may be often rhetorically provocative and tend towards a certain kind of didacticism, but they are always clearly and skilfully argued and engage with western culture’s most serious subjects and most important minds. Love him or hate him, Adam Curtis is a film maker to be taken seriously, and considering the shlock that fills the vast majority of TV slots, I for one am thoroughly glad we have him around.

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here are some links to the films discussed above:

Pandora’s Box

Episode 1
Episode 2
Episode 3

The Living Dead
Episode 1
Episode 2
Episode 3

25 Million Pounds

The Way of All Flesh

The Mayfair Set

* Episode 1 [pt 1] [pt2]
* Episode 2 [pt 1] [pt 2]
* Episode 3 [pt 1] [pt 2]
* Episode 4 [pt 1] [pt 2]

The Century of the Self

* Episode 1
* Episode 2
* Episode 3
* Episode 4

The Power of Nightmares

Episode 1
Episode 2
Episode 3

The Trap

Episode 1
Episode 2
Episode 3

It Felt Like A Kiss

Brooker film 1: TV News
Brooker film 2: Oh-Dearism
Brooker film 3: How All of Us Have Become Richard Nixon

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given that I have few qualms about this sort of thing anyway, and especially when it comes to programmes that have aired on terrestrial TV, if any of these links are broken or the quality is too poor for you to handle, then I can and do recommend a brief sniff around some of the more popular torrent deposits. my advice is to see these films however and as soon as you can.

#telosvision: most depressing gameshow ever?

just when i thought reality tv couldn’t get any worse, the race for the bottom has been reignited by Endemol and Channel 4’s latest ‘treat’ The Million Pound Drop….Live! no doubt simply filling a gap in the schedule which will soon be gobbled up (along with almost all other slots) by the new series of Big Brother, this Davina fronted reality quiz experience pits the non-existant wits of ‘people’, who can only be described as morons, against some questions, with the additional pressure garnered by the presence of £1m (this time a million pounds, not ‘a metre of money’) which they are forced wager on their lack of knowledge.

the ghoulishly simple concept is that a pair of quarter-wits are given a million pounds (but not really), told that they’re now millionaires (although not really) and told that they have a chance of staying that way at the end of the show (although not really). they must bet the money that they’ve been leant on eight multiple choice questions. they must wager all the money each time, but can spread it about amongst four possible answers (although one answer must always remain blank). any money wagered on incorrect answers ‘drops’ from the large pedestal stage that the game is conducted on and into the eager arms of fat men in suits with black shades – security guards apparently. as the game continues the available answers reduce to three, then for the final question, to two, meaning that the final wager is an ‘all-or-nothing’.

the first depressing thing about ‘The Million Pound Drop…Live! is the way in which the contestants are made to handle the money, bundled in £25K stacks, as they bet it. to absolutely guarantee that they look as much like the desperate, stupid paupers that they are, scrabbling around on the floor begging for all the money back that the banks and markets keep losing, they only have one minute to decide how much cash they want to risk on each answer and physically pile it on top of the appropriate trapdoor. we have yet to discover what happens if the time elapses and some of the wadges have not been placed, but we have seen plenty gleefully literal money grabbing.

the next most depressing element is added by the fact that as the game continues and the number of possible answers reduces, the questions become ‘harder’ (although this is a relative term) and the available options more difficult to choose between. the concept on which the show was advertised was that you become less sure of an answer you think you know to be right if someone actually gives you a whole stack of real money to risk on it…live! this, however, has turned out to be (at best) only an aspect of the early stages of the show when the stupid contestants are remotely within the Jeremy Beadle-esque grasp of their scanty faculties. in any case, as the eighth and final question looms, the nature of the question and the possible answers left to choose between mean that the role of knowledge is reduced to about that required to guess how many sweets are in the massive jar at the school fete (‘Which of the Cheeky Girls has the longer left big toe?’). as such, the format essentially means that if anyone with any form of general knowledge ever did get on, although they could potentially use their smarts to get all £1m through to the final question, they would be forced to gamble the fruits of their labour on essentially a coin toss in the last round.

clearly what we’ve ended up with is a gentrified version of the show Channel 4 wanted to make in which the best the contestants can possibly stand to do is have a 50% chance of keeping whatever pitiful amount of shiny coins their limited faculties have allowed them to scrape together whilst scratching around with their mouths, like the worthless poultry that they are, on the shitty floor of ‘Davina’s Cash Barn’ – a kind of Jimmy’s Farm meets the end bit of The Crystal Maze. in fact, why not just go out into ‘the worse kind’ of council estates and offer the people the chance to play Russian Roulette with three bullets in a six-shooter? at the start they stand to win all their hopes and dreams, but by the end it’s 50/50 whether they blow their brains out, or win a badge that reads ‘I’m poor, kick my face’.

last night’s instalment introduced Will and Gemma who were either stooges drafted in to steer the so-far dismal ship back on the intended course (i.e. to get some money through question 3 or 4) or they were the most depressing contestants yet. they started off well, knowing the answers to the first few questions and either managing to successfully risk all the cash, or lose only small amounts to entertaining last-minute fits of one-million-pounds-in-live-cash related doubt. they were clearly not what you’d call bright, but they seemed to know at least eleven things which is more than can be said for any other contestants i’ve seen ‘take the drop’ so far.

the episode hit an unbelievable low, however, when the subject for their fifth or sixth question was selected as Science and the following question was revealed: Which of these events occurred first – Pierre and Marie Curie discover radium, Fahrenheit invents the mercury thermometer or Isaac Newton formulates the three Laws of Motion? Will, the proud holder of an A* in GCSE Combined Science, was initially drawn to Isaac Newton but could not give the inquisitive Gemma a satisfactory reason as to why. after discussing whether the Laws of Motion were ‘when the apple fell on his head’, as if being able to confirm or deny that was all they needed to help them to alight on the answer, they put the majority of their money on Will’s Newtonian ‘hunch’, shifting something like ‘only’ £125K onto Fahrenheit as a backup. “I just don’t think radium’s been around for very long” was a treat of a comment from Gemma.

as if it weren’t enough that there was clearly tension in the room and on the faces of the contestants which should in no way have been there (million pounds or not) given that Fahrenheit was born only one year before Newton published Philosophiæ Naturalis Principia Mathematica, to make matters worse, the Fahrenheit trap was dropped first (thus revealing it as an incorrect answer). so, now they knew that the answer was either Newton’s Laws (on which they’d bet around £900K) or the Curies’ discovery (on which they’d wagered nothing), and yet they didn’t seem any more confident. the ‘tension’ was cranked up ‘even more’ by the revelation that they would be cutting to an advert break before revealing the next drop. the fact that they didn’t know for sure which had occured first between an event from 1687 and another from 1898, or even who was around first, Newton or the Curies, was depressing, but the fact that the producers obviously thought that their ignorance would be shared by the majority of the show’s audience was quite sickening.

to my mind gameshows are supposed to be about the opportunity to turn knowledge or skill into rewards. the audience attraction is the giddy thrill of rooting for (or, in the case of some, (not mentioning any Judith Keppels) against) the contestants as they put themselves to the test. this programme is really about degradation. we’re presented with cash-strapped simpletons who’ve agreed to exchange their dignity for the chance to desperately fumble around with big blocks of money they are never going to win and in the meantime we’re supposed to enjoy the suspense of not knowing who was born more recently Cyrus the Great of Persia or Timmy Mallett.

on the show’s promotional youtube video, one of the production team asserts “it’s a massively life-changing thing to think about. Actually if i think about it too much, it makes me want to cry.”

me too.

#telosvision: sex and the city

i’d been preparing a #telosvision post about Sex and the City to coincide with the release of the forthcoming second film when the shocking revelation about the true and terrible nature of the show broke. i am as i imagine are you in a state of discombobulation the likes of which i’ve only before seen or felt in american department stores. of all the things that life could have taken from me, not this, please, not this. alas. this. i’m big enough to admit when i’ve been duped. damn you lars.

http://www.thedailymash.co.uk/news/arts-&-entertainment/lars-von-trier-revealed-as-‘sex-and-the-city’-mastermind-201005102714/

#telosvision: archer – bond for feminists?

#telosvision: love it or just watch it anyway TV is arguably today’s central cultural medium and marker. in terms of shaping our shared experience and mediating the conscience collective televisual trends tends ends end en n and so on. you might say that charting the emerging geography of the small screen is like looking into a cultural crystal ball – and many experts do. so.

at RQT we’re beginning our critically engaged map of the box in a small corner called Archer. produced for Fox’s FX channel and premiering in january of this year the first season’s ten episodes open to us the hidden doors of ISIS (the International Secret Intelligence Service). located above a mid-town laundromat (“wash’n’fold…technically”) ISIS is a small intelligence agency sporting the most highly trained and most ninjaist operatives who are also a sorry bunch of total douche bags.

Douche-baggery not withstanding the collection of rag-tag incompetents soaks and sexual misfits that make up the ISIS staff are really as endearing a clutch of chumps as you will ever know (and you will know lots of chumps – i can guarantee that).

Code-named ‘Dutchess’, Sterling Malory Archer – son of former field agent and persistent sex-hound ISIS director Malory Archer and the Archer of Archer (the title) – is essentially your classic emotionally stunted gun-toting butler-needing lacrosse-playing rich mummy’s boy field agent. but more annoying than that. be careful though because like all ISIS agents he is highly skilled in Krav Maga – “Karate? Karate is the Dane Cook of martial arts”. his instincts are to be suave and wry but he’s much better at being crass and never being able to come up with witty retorts quickly enough. he’s essentially an obnoxious pig-headed misogynistic…wait i totally had something for this… Lana Kane […douche.] is a fast-talking tactical weapons expert with a short dress and breasts which stick out as much sidewards as they do frontwards. she is Archer’s field partner and never quite totally ex (they are named beneficiary on each other’s life insurance policies). she now goes out with Cyril Figgis from accounts who is a nervous and comparatively well-meaning bespectacled nerd and thus the butt of nearly all of Archer’s jokes. he has an extremely large penis and makes stir-fry for Lana every Friday (Cyril: “Guess what we call it…” Archer: “Stir Friday?” Cyril: “…Wow, that is…actually better”.) the admin side of things is handled by Cheryl/Carol/Cristal/Carina – who changes her name a lot and likes being strangled – and Pam who is fat and grew up on a ‘cheese farm’. Dr. Krieger is in charge of R&D and doesn’t really say much but what he does say is unremittingly dark (Pam: “And that’s the reason I never have sex with co-workers. That … and no one ever lets me.” Krieger: “I’ve had good results with ether”).

add in gay agent (gaygent) Gillette, Scatter-brain-Jane, (infil)trator Krenshaw/Kremensky, Archer’s long-suffering butler Woodhouse, KGB boss (Mallory’s on-off lover and probably Sterling’s father) Nicolai Jackov and Len Trexler the boss of rival agency ODIN (Archer: “Ugh, the Organisation of Douchebags in…wait I had something for this…..Nowheresville”) and another of Mallory’s former conquests, and you just about have the whole cast of characters.

Archer uses heavy doses of irony to transition all the social politics of the old-school spy genre into the world of equal opportunities legislation sexual harassment cases and diversity criteria. every character is almost equally as insecure shallow self-obsessed and sexually tragic as the next and very few social constructs or taboos escape the sharp edge of the writer (Adam Reed)’s pen. just like Reed’s work for Adult Swim – Frisky Dingo and Sealab 2021 – Archer is parodic, sharp and laugh-out-loud-and-then-feel-ashamed funny. given that the first season has already won the plaudits of philosopher and wet-mouthed genius Slavoj Žižek, cultural critic, academic and celebrity hairstylist Cornel West, trance DJ and leader of the Catholic Church in England and Wales Archbishop Vincent Nichols, feminist activist Ron Jeremy and not-long-enough-since-dead actor/lobbyist/fascist and bi-sexual icon Charlton Heston, it’s probably no surprised that a second season is currently on the drawing board.

UK viewers can see Archer on thursdays at 10pm on Fiver or thereafter on Demand Five. US viewers should hit up Hulu.

yyyyuuuuuuppp

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