W1A: Brilliant BBC Buffoonery

If you have perused the pages of this blog semi-regularly, you are well aware that I love British television. And while England now has multiple channels offering all kinds of mindless and mindful entertainment, the BBC is still going strong, a bastion of quality drama, comedy, news, music, and everything in between. There's currently a Back the BBC campaign underway as they near their 2016 charter review, so there is no better time to recommend W1A, a mockumentary about the ridiculousness of working at the BBC. It comes from the mind of writer-director John Morton, who brought us the glorious Twenty Twelve. I dare you to watch this show and then insist that the BBC still doesn't deserve all its funding. If all they did with the money was provide more episodes of W1A, that would be a satisfactory bargain.

Twenty Twelve was about the hapless Olympics Deliverance Committee (ODC) in charge of the London 2012 Olympics. They were a bunch of bureaucratic fools who got caught up in minutiae, easily losing the big picture when faced with corporate tedium, and their weekly antics were a side-splitting wonder to behold. Well, the Olympics are over, and now the Head of the ODC, Ian Fletcher (Hugh Bonneville), has landed a job at the BBC as the Head of Values. This is a vague corporate title that everyone pretends to understand while simultaneously trying to ferret out exactly what it is he is supposed to be doing. Ian is now thrown in with a brand new lot of corporate stooges who are all bandying about cliches, delegating tasks to each other with abandon, and furiously treading water to keep afloat in the murky waters of the new BBC.

Jessica Hynes also reprises her role as Siobhan Sharpe, the PR executive who made Ian's life hell at the Olympics and is back to make things equally difficult as she tries to rebrand the BBC with her customarily clueless team. Hearing her deliver nonsensical jargon with complete confidence is a joy and watching the people around her react with open-mouthed bewilderment is even more joyous. At first, everyone gets a fair shot to prove their mettle and everyone is presumed to be a genius. It is only after the first few meetings that everyone realizes just how incompetent everyone else is and things unravel rapidly. Throw in the corporate urge to create more ambiguous titles (Head of Inclusivity is good, but Head of Better is simply magnificent), and you get eight episodes of utterly raucous comedy. 

W1A mercilessly skewers corporate jingoism in general and the BBC in particular. John Morton's writing continues to be an absolute revelation, each episode bursting with layer upon layer of jokes that will keep you laughing for days. And David Tennant is still around to provide that earnestly serious Scottish voiceover that declaims the most ridiculous things you've heard on television. This is a spectacular show, one of those pinnacles of British comedy that further elucidates why the BBC is such an important cultural institution. The BBC featured in W1A is a hapless mess, but the BBC that has backed Morton and these actors to produce this brilliant show deserves as much love and respect as it can get. 

Emma: Meet the Modern Miss Woodhouse

As a huge fan of both Alexander McCall Smith and Jane Austen, it should come as no surprise that I enjoyed Emma: A Modern Retelling. Smith's update of Austen's classic novel is a charming and cannily observed homage that manages to add interesting new details to this incredibly familiar story. If you're one of those people who will always be sad that Austen wrote so few novels, this is a book that is sure to bring you some comfort.

Smith starts this novel rather unusually. We are treated to the complete background of Mr. Woodhouse, a character who merely serves as hypochondriacal comic relief in the Austen novel. Here we learn more about his history, why he's such an anxious man, and how he became a widower with two young daughters left to his charge. We also get the story of Miss Taylor, the governess who becomes the subject of Emma's first attempt at matchmaking. Which brings us finally to the heroine of the piece, Emma Woodhouse.

Smith pulls no punches when it comes to Emma. She is not a sympathetic character, but a deeply flawed and spoiled rich girl who needs to evolve over the course of this story and learn what it means to be a polite and empathetic adult. She is vastly clueless about what it means to be poor, is an incredible snob, and does some pretty rude and awful things over the course of this novel. However, her heart is eventually revealed to be in the right place, and she does learn her lesson, thanks to the wise ministrations of Miss Taylor and of course, George Knightley.

While Austen aficionados will face no surprises in terms of plot, they may be a little thrown by the language of this novel. While Smith has remained faithful to the essence of the story and its characters, he does imbue this tale with his trademark penchant for philosophical introspection and bizarre non sequiturs. I won't spoil anything, but let's just say that Emma's portrait of Harriet is a slightly more odd affair than it was in the original. There are also many fun modern embellishments to bring the proceedings firmly into the twenty-first century; but if you have a closed mind where your classic Victorian literature is concerned, you may not derive much joy from those.

Emma: A Modern Retelling is a charming light read, a lovely attempt to bring these beloved characters into the modern world and regard their thoughts and actions with a modern lens. Some things change dramatically while most others stay completely the same, and it is heartening to see how Austen's power to create compelling vivid characters means that no matter what the setting, the essential humanity of her stories will always shine through.

Trainwreck: The Romcom is Back

Amy Schumer is one of the funniest people on the planet right now. If you've seen even a single sketch from her Comedy Central show, Inside Amy Schumer, you know that is an indisputable fact. So it should not be a surprise that Trainwreck, a movie written by and starring Schumer, is a laugh riot. What is a surprise however, is how wonderfully romantic this movie is, managing to give you the feels while simultaneously making you laugh maniacally. Earlier this week I wrote about Catastrophe, a show written by two comedians that manages to embrace filthy humour and heartfelt romance in one glorious package. Trainwreck accomplishes the same feat. That is the true purpose of a romantic comedy, and it's superb to see this dying genre resurrected in such splendid fashion.

Schumer stars as Amy, a single New York woman who enjoys drinking, getting stoned, and having sex. Thanks to early childhood experiences, she is of the opinion that "monogamy isn't realistic," and is constantly at odds with her sister, Kim (Brie Larson), who is married with a stepson and has her life very much together. Amy writes for a men's magazine, and she is assigned to do a profile on a sports doctor who treats the New York Knicks and other high-profile athletes. And so she meets Dr. Aaron Conners (Bill Hader). While their initial meeting is a little contentious (in typical romcom fashion), they quickly find their rhythm, and before long, Amy discovers she is in a full-blown relationship. But a leopard can't change its spots overnight, and the entire thing starts to unravel.

There are some very familiar romcom beats throughout the movie (the ending in particular hearkens back to great romcom moments), but what is so thrilling about Trainwreck is what has always been so thrilling about romantic comedies in general: the chemistry between the two leads. Schumer and Hader are so witty, quick, and in sync with each other. It's like watching a 30's screwball comedy with Cary Grant and Rosalind Russell or Spencer Tracy and Katharine Hepburn. Here are two actors who are happy to act foolish, don't take themselves too seriously, lob jokes at each other with unrelenting glee, and then melt your heart with grand romantic gestures. It's just spectacular.

Lest I forget, the supporting cast is magnificent, which is the key to most romantic comedies. While the central pair need to sizzle, the antics of the people around them are equally important to keep things moving, and in this movie we have people like Colin Quinn, Tilda Swinton, and of course, LeBron James, to keep things bizarre and interesting. And there's the great city of New York, always playing its part in the background. I was on vacation in Toronto when I saw this movie, which certainly colors my feelings about the film, but it managed to capture everything I love about the city. Quite frankly, any movie that sets a scene in Alice's Teacup is instantly on my Top 10 list.

Amy Schumer's writing is predominantly responsible for the greatness of Trainwreck. She has done a wonderful job of creating a character with a confident, cool-girl exterior who also has insecurities and a vulnerability that isn't a weakness but just one more facet to making her a complete human being. Director Judd Apatow also deserves a huge amount of credit for letting Schumer run with this movie and ensuring that the final cut is true to her incredible vision. Hader's sensible silliness is the perfect foil to Schumer's manic energy and the two of them have proven that they are movie stars who deserve many more leading roles in the future. So run to the theater and experience Trainwreck. You will laugh uproariously and be swept off your feet.

What Happened, Miss Simone? Documentary of a Genius

I had nothing but a passing familiarity with the music of Nina Simone. Her cover of Mr. Bojangles is something I listen to with much love, but I can't pretend I knew anything more about her music or her life. Thankfully, Netflix has remedied that situation with their release of the documentary, What Happened, Miss Simone?

Using archival footage and recordings, this documentary pieces together the life story of a simply extraordinary musician and activist. Born in 1933 as Eunice Waymon in a poor black family in North Carolina, Simone was introduced to the piano at the age of three. Her mother was a preacher who would take her to revival meetings, and her musical talent was spotted by two white women who decided to give her proper piano lessons. The plan was to make her the first black female classical pianist, a plan that was derailed once she was denied admission into a prestigious music program, presumably due to racial grounds. Desperate to make money to support her family, she changed her name to Nina Simone and started playing piano at bars and night clubs. When told she could earn a lot more money if she sang, she started singing too, and that's when the world was introduced to that rich, intoxicating voice.

It's a classic rags-to-riches tale, but since this is real life, there is no happy ending. While Simone's early career seemed charmed, problems quickly arose. Her supportive husband turned out to be jealous and abusive. Her moods got increasingly volatile and she suffered bouts of depression or anger that would derail performances. In the 60s, she got caught up in the civil rights movement, befriending Martin Luther King, Jr., Malcolm X, Lorraine Hansberry, and the other intellectuals and philosophers who were fighting so hard for the rights of their fellow man. At this point, she composed overtly political songs, drawing from her own experience and the deep knowledge of her peers to sing about the injustices facing African Americans. While this gave her tremendous purpose, it did not bring her happiness, and as her friends were killed over the course of their struggles, she increasingly lost her way. Her political leanings meant that she was no longer able to book concerts, radio stations blacklisted her records, and she suffered a mighty fall from grace.

Director Liz Garbus has created an impeccable documentary that delves right inside the heart and mind of its subject and tells her story through her own words. While there are interviews with friends and family, the movie is most powerful when you're listening to or watching Simone describe her own thoughts and the things that drove her to make her music. Her passion and brilliance leap off the screen, and while she battled many personal and professional demons, there is no doubt that this woman was a genius. The movie uses her songs as the backdrop for every scene, that powerful voice and incredible piano-playing setting the soundtrack for her extraordinary life.

What Happened, Miss Simone? is not a fawning tale but a no-holds-barred look at what made this woman tick. Her passion for music and activism was both a blessing and a curse but she was able to give so much to the world. If you are a fan of Nina Simone, you absolutely have to watch this documentary to gain a deeper appreciation of her talent. If you've never heard of Nina Simone, you absolutely have to watch this documentary so you can become a fan and appreciate the passion and artistry that make her music relevant decades later.

Catastrophe: A Rapid Romance

My friend Laura is a huge fan of comedian Rob Delaney, and three years ago, we went to see him perform at the Bowery Ballroom (you can watch that special on Netflix - perhaps you'll spot the back of our heads in the audience). It was an extremely personal and hilarious set, full of ridiculously filthy and intelligent humor. Now, Delaney has teamed up with Irish comedienne Sharon Horgan, and together, the two of them have created Catastrophe, a deeply filthy, deeply funny, and deeply romantic sitcom.

Delaney and Horgan star as Rob and Sharon, two people who meet in a London pub and have an instant lust connection. After a one-week stand, Rob returns to Boston (he was only in town for a business trip) and they amicably part ways. However, a month later, he gets a call from Sharon. She's pregnant, and she's keeping the baby. He immediately decides he's moving to London and uproots his whole life to go back and support her. While it's a classic sitcom or romcom setup, what is not classic is the ensuing courtship and romance between these two incredibly wonderful people. They are not irresponsible college kids; they are emphatically adults who have made a grown-up decision and are now going to do what it takes to ensure that their lives are in order before they become parents. Of course there are moments of incompetence and ridiculousness, but ultimately this is a show that is grounded in love and good common sense.

Written by Delaney and Horgan, each of the six episodes (unfortunately this was done for British television with its cruelly short seasons) is brimming with jokes you will want to repeat to your friends and romantic declarations you'll watch again and again. The supporting characters are equally funny and bizarre, creating a wonderful little microcosm of humanity for the two leads to interact with. Both actors' perspectives are given equal time so while you get the trademark Delaney scatological humor, Horgan ensures her voice shines through as well, giving us the crucial female perspective on how exactly one deals with all this change and upheaval and how sometimes, a woman just needs her space. The two of them are dancing a delicious tango with both their actions and words; while the show is devastatingly funny, it also has moments of genuine gut-wrenching drama that remind you of the high stakes that are involved and that adult life isn't just a charming hapless romcom.

Depending on your location, you can watch Catastrophe on Channel 4 On Demand or Amazon. It is a short time commitment that will pay high dividends so hole yourself up in your room and just indulge. This is one of the best shows you could watch this summer and you'll be aching for season 2 before you're through.

Cougar Town: Meet the Cul-de-sac Crew

Confession: I am one of those people who watched Cougar Town right when it premiered on ABC in 2009, followed it when it got transferred to TBS in 2013 and stuck with it till the series finale last March. I don't know how many of us are out there, but you have to hear me out. Despite the showrunner-acknowledged terrible title, Cougar Town was a goofy and big-hearted show that a lot of people would find truly entertaining if they gave it a shot.

Set in the fictional town of Gulfhaven, Florida, the show follows forty-something Jules Cobb (Courtney Cox) a recently-divorced woman with a teenage son, Travis (Dan Byrd). She still has a close relationship with her ex-husband, Bobby (Brian Van Holt), and is best friends with her witheringly sarcastic neighbor Ellie (Christa Torres), who is married to the amiable Andy (Ian Gomez). Throw in Laurie (Busy Philipps), Jules' young assistant at the real-estate office where she works, and Grayson (Josh Hopkins), the guy who lives down the street and owns a local bar, and you have a motley crew of ridiculous people who each serve as a dictionary definition of "quirky." Together, they become an unlikely but endearing group of friends, having the oddest conversations and getting into the weirdest situations.

When the show began, the initial focus was on Jules' cougar-esque dating life as she pursued younger men and tried to just have some fun in her forties. However, it became evident that with the comedic talent of the show's central cast, this was a completely unnecessary plot device. Jules quickly started dating men her own age (eventually dating Grayson) and the show became a fun sitcom about this group of oddballs who spend all of their days drinking copious amounts of wine, making up words, playing Penny Can, and embarrassing and supporting each other in equal measure.

Over the course of six seasons, a lot happened to these people. There were marriages, births, countless romances and heartbreaks, and in case I forgot to mention it, a LOT of wine. Seriously, there's a wine glass that gets enough screen time to be billed as a supporting character on the show. The showrunner, Bill Lawrence, and his team of writers excelled at self-deprecating humor, evidenced by the show's opening title card every episode that would mock the show's no-longer applicable title. Cougar Town was certainly an uneven show but it was silly, never mean-spirited, and simply entertaining. So pick up the DVDs or catch re-runs on TBS, because there's 102 episodes of goofy fun that awaits you this summer. 

Black-ish: The New Modern Family

Summer time results in a complete dearth of American TV as everyone goes on hiatus. However, that also makes it the perfect time to get caught up on shows you missed out on during the regular TV season, and one such show is Black-ish. This show, which immediately follows Modern Family on ABC Wednesday nights, is a family comedy that delivers consistently and hilariously. If you're looking for a sharp, insightful, and ultimately delightful sitcom, add Black-ish to to your must-see lineup.

The show follows the incredibly weird and wonderful Johnsons, an affluent African-American family led by a mixed-race mom Rainbow (Tracee Ellis Ross) and proud black father Dre (Anthony Anderson). They have four kids: the fashionista Zoe (Yara Shahidi), the nerdy Junior (Marcus Scribner), and twins Jack and Diane (Miles Brown and Marsai Martin). Dre's father Earl (Lawrence Fishburne) also lives with them, adding further multi-generational complications.Together, they comprise a crazy sitcom family that get into the expected weekly scrapes, but also have a lot of funny and surprising insights about race and the stereotypes they encounter in their daily lives. As the title suggests, the show focuses on what it means to be black in modern day America, and how that differs from the older characters' own childhoods. Race is still a fraught and complex topic in America, but Black-ish handles this contentious subject with comedic flair. 

In addition to its nuanced racial commentary, however, Black-ish highlights issues pertaining to a whole host of groups. Rainbow is an intelligent and accomplished anesthesiologist, and she is an unabashed feminist who never shies away from highlighting moments when she isn't getting her due simply because she is a woman. Dre works in advertising and often struggles with issues of ageism or just not being in the cultural loop like his younger colleagues. Junior is a nerd who would rather play Dungeons & Dragons than basketball, and his struggle to get his father to accept that is an ongoing battle. There's also plenty of socioeconomic commentary as Rainbow and Dre had very different upbringings: the former was raised by happy hippies, while the latter was struggling to get by in Compton. 

Apart from the fantastic acting (Tracee Ellis Ross, in particular, is a dependable riot every single week), what is truly responsible for Black-ish's brilliance is the whipsmart writing. Led by creator Kenya Barris, the show's writers are adept at creating 22 minutes of crackling dialogue, rife with sharp observations, witty one-liners and broader truths that elevate each episode to a cultural masterpiece. It is a show that you cannot tire of watching and it offers up new "I can't believe they went there" moments with shocking regularity. So start watching Black-ish reruns and get all caught up. I guarantee you'll find something that speaks to your own personal experiences, and even if you don't, you're going to have a hilarious and eye-opening time.