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You don't to look beyond your own world when crafting your fantasy playground, you need only take inspiration from it. The world is already limitless in its possibility and still manages to impress us after many millenia. Take a normal walk on crisp clear day...

Surrounded by comedy - Laugter is obviously the cure

If there was ever a time for a boom in comedy, it’s now! This Christmas I spent most of my groggy bailey’s hangovers sifting through mountains of stand of comedy in countless stores just to find those all important boxsets for mum and dad. Then I get home and they’re all over the TV on a plethora of panel shows that are all predominantly the same programme under a different name. Some of you might liken the feeling to the sudden surge of HBO drama’s that had us all bed bound on our days off ploughing towards finales that Rarely lived up to their name.

Now usually, this kind of overhaul would send me running back to a ‘Scrubs’ marathon or a ‘Lord of the Rings’ re-read in order to the storm. However, something feels different this time. Perhaps it’s the lure of their grinning faces smothered over shop windows or the inescapable laughter that you can hear seeping through the walls from next door that have caught my attention. But either way I have been inadvertently lead to a place I never though possible in such a ‘gloom and doom’ climate: contentment. I’ve become addicted to the great library of laughter that stands readily awaiting to cheer us up, so much that the pressures of life seem to elude me and my own creative pursuits flourish in the wake. Laughter really is a cure!

Of course the comedic quality of these overnight stars can vary, but for the first time in a long while it feels there’s something for everyone. Whether you want controversial, dry, sarcastic or just good old fashioned observational stuff, its all their to be lapped up. And don’t think it’s just those you see in the shops and on the TV either, no-no. Live stand-up comedy is rifer than ever and pubs and clubs all over the country are showcasing comedy like never before. The scene is wonderfully alive and with so many still looking for work, it seems everyone is having a go! For every individual out there that calls themselves an artist, there is nothing more encouraging than seeing fellow creators and entertainers succeeding in a time where it just doesn’t feel possible.

Beneath it all however, there is a warm fuzzy feeling of togetherness that only stand-up comedy seems to be able to stir, proving that the UK needs nothing more than laughter to get them through hard times. So here’s my advice to arts enthusiasts who may have lost their appetite for creativity over the last painful year: get writing, get seeing and get performing. The stage has been set and is ready for the taking, imagination is flowing and there is an audience out there that’s hungrier than ever for entertainment. Even if comedy is not your game, get out there and see some of it. Get laughing, get content and above all get inspired!

TV Review: The Killing (Forbrydelsen) Series 3 (contains spoilers)

“Sarah what have you done?” says Mathias Borch, mimicking my own reaction on screen with a sensational display of love, desperation and fear. What a traumatising ending to the third instalment of ‘The Killing’ which I’m sure is going to haunt many of us for the rest of winter, but is that the last we’ve had of tense piano riffs and knitted jumpers?

From the series opener and the abduction of Emily Zeuthen, old wounds were torn open as Sarah Lund (Sophie Grabol) found herself on a case packed with the same sinister undertones and suspect political involvement that underpinned the Nana Birk Larsen case in series one. Given the overwhelming reception of the first series, for many viewers this was a welcome return to the show’s roots. However dark though, in series three our Nordic heroine’s attention remains elsewhere, with an opportunity of securing a desk job looming and her son settling down with his partner. In hindsight, one thing that the first two series’ struggled to achieve was empathy and leaving the viewer feeling torn between Lund’s commitment to the case and loyalty to her family. Of course, the detrimental effects inflicted on her personal life in the wake of her work were both touching and heartfelt, but always with a sense of “okay enough of that, now lets get back to the good stuff”. This was not the case for series three. With Lund starting out unbothered by the details of the case and feigning interest here and there, especially in the first two episodes, there was a feeling of detachment from it which was masterfully balanced by a strong sympathetic angle for Lund’s wrecked relationship with her son and a desire for her to set it right. This unprecedented move by the writers not only embellished these subtler layers beneath the main plot, but made for harrowing moments in which we see Lund balancing her two lives on a knife edge.

As the series progressed and details of the past were exhumed with red herrings coming thick and fast (one of the shows most defining devices), Lund is forced to make further sacrifices and in turn the audience is forced to choose where they want Lund’s loyalties to lie. This clever shift sets this series apart from its predecessors and paves the way for a new layer in Lund’s private life: her relationship with Mathias Borch (Nikolaj Lie Kaas), a past love who finds himself assisting Sarah on her hunt. Unlike her aides of the past, Borch is the mirror and catalyst that Lund has needed to see herself and fix her life. Given that Borch joins her in a professional capacity, the audience are also given permission to experience Lund’s two lives overlapping for the first time.

 

 

As would be expected, Borch gives cause for suspicion midway through the series but when it comes to ‘The Killing’, unless you’re Sarah Lund, you’re going to be a suspect at some point. Borch’s arrival in this series also compliments the degradation of our seasoned alpha male, Lennart Brix (Morten Suurballe), whose authoritative presence and voice of reason have kept Lund on the straight and narrow for two seasons. Series three however, sees Brix under harsh scrutiny from powers above, forcing our once untouchable police boss into rocky territory from the second episode. This fall from grace allows Borch to walk straight into the show as our main man with whom we must place our faith.

Moving into the latter half of the series, it becomes clear that Borch has some baggage, in the form of a failing relationship and a very unhappy wife. Though I see the need to keep the audience on the edge with our two protagonists, the lack of commitment to this sub-story rendered it an ultimately pointless addition and actually proved to be a nuisance to an already established and solid through line. These moments where extremely infrequent though and were luckily quickly forgotten in the wake of some heated scenes that had us seeing a little more of our ice queen than maybe we wanted (or perhaps not enough).

As the series drew to a close and the identity of the kidnapper was revealed, the audience were still left hanging until the bitter end, yearning for answers regarding an immensely important older case. Now, though I thoroughly enjoyed this series and revelled in its suspense, the exceptionally weak connection between the political shenanigans and the Emily Zeuthen case was a disappointment. As the climax approached, it felt as though the two plots were going to come to a brilliant meeting point, but sadly this did not come to fruition leaving me a little miffed as to the importance of the second plot. Series one and two boasted some imaginative plot weaving and quite clever misdirection regarding political figures and the line of justice, whereas in series three, the politicians and their counterparts had no more necessity than boosting the number of possible suspects . This was a true shame given that the political plot began with mountains of potential and showcased some of the better performances we have seen in the whole saga.

 

On reaching the breathtaking finale however, everything that was once important in the show is left as redundant as Borch’s wife when Lund takes the law into her own hands by executing the known perpetrator. In a Hollywood movie, this climax would be overstated, tacky and I dare say expected. In ‘The Killing’ however, it is placed ingeniously, turning three seasons of a struggling detective on its head. In this moment we saw every ounce of injustice and memory of uncaught criminals explode on screen under the final judgement of our heroine who, in the end, became a symbol of moral justice. Beautiful

But what next? If I were to be asked how I feel about a series four, my sensible answer would be “don’t do it”. Despite various discrepancies, ‘The Killing’ has brought some powerful and refreshing stories to its genre and I would hate to see it diluted by overkill, which we have seen destroy too many great American dramas that have begun with a bang but ended with a whimper. However, I have never been sensible by nature and so it would be wrong to be sensible here. As such, my response to the possibility of a fourth series is “Hell Yes.” Sarah Lund on the Run with the help of her Nordic hunk? Bring it on!

7/10

 

TV Review: Doctor Who Christmas Special 'The Snowmen'

 

Happy to be free of the ponds or still grieving over their departure, this years Christmas special will certainly tease you back into the hands of Who with an eclectic mix of old friends, evil villains, a chirpy new companion and a cantankerous and bitter doctor who has turned his back on the universe. Now, if I were sulking over the loss off the Ponds (which actually I wouldn’t be given they had begun to feel a bit like tardis squatters) and I had my very own time machine, where would I go? A cloud above an ever-beautiful BBC rendition of Victorian England, no more than a spiral staircase away from a lizard lady, her wife and a humorous potato man, would certainly be on my list.

Whovians will be titillated from the off with a spectacular new opening sequence that boasts some fresh new graphical mastery, an ever-epic revamped theme tune and Matt Smith’s head floating in the vortex, resonant of the shows early years and beautifully foreshadowing its 50^th anniversary. Furthermore, our swift re-acquaintance with old accomplices promises to have us comfortably back in the Whoniverse following our three month break making for a welcome introduction to new companion Clara (Jenna-Louise Coleman), whose curious and playfully ambiguous character brings this tale to life with the two words that have underpinned the show's arc for some time: “Doctor Who?” Intertwined in this meeting, this years frosty villains also make their first appearance early on in the episode and come equipped with sinister eyes and suitably scary teeth, highlighting Steven Moffat’s creative genius is still second to none when it comes to creepy characters and making monsters out of molehills. In fact, these fiendish snowman along with the angry ice governess are probably some of the most inventive monsters we have seen recently and will certainly have the kids burying their heads into their Christmas jumpers.

Bringing in Richard E Grant to play ruthless Doctor Simeon and Ian Mckellen to voice the indomitable Great Intelligence was inspired but underused. It was like inviting Delia Smith to Christmas dinner but buying your mince pies from Tesco: a wasted opportunity. Though both parts were executed (as would be expected) with absolute clarity, their success was underappreciated by a plot that just did not do them justice and was rounded off hurriedly with a rather confusing conclusion. I mean, Sir Ian Mckellen on Doctor Who? Why wasn’t he in every scene? In fact, why wasn’t he playing every character? Not to worry, following the recent release of the Hobbit, we are definitely getting our yearly fix of the old thesp. On a less childish note though (and it’s hard not be childish when it comes to Doctor Who), the diluted baddie moments still did enough to embellish this Christmas special with some added flavour for the broader audience that it would undoubtedly draw, and gave way to the eagerly awaited introduction of Clara and the development of her relationship to the doctor. Unfortunately however, I still couldn’t help but feel a little starved of this year’s villains and was left wishing that the Doctor Who team had saved these two acting greats for a later episode.

Characters who certainly did get enough time to shine were Madame Vastra (Neve McIntosh) and Jenny (Catrin Stewart); their lascivious interactions, confident swagger and subtle pokes at archaic attitudes were so cheekily funny that they have given all these rumours of a spin-off off show more clout than ever (I'd certainly watch it). In addition, their relationship with the doctor remained clear and consistent, a rarity with the come-and-go companions of recent years, and has cemented them as some of The Doctor’s most important companions and hopefully ensuring some future appearances. The biggest gem in these two however, is that despite being so outrageous in their essence they are believable, making them wonderful additions to the show and its diverse audience. Strax (Dan Starkey), who has always been a bit of a question mark and a somewhat pointless character, really comes into his own too. Many of the most comical moments of this episode rested entirely on Strax's own views on humans and warfare, providing seasoned viewers with something finally to  get their teeth into with this Sontaran sidekick. Opposite Smith’s wacky but sensitive doctor, the jokes were golden and were possibly the most memorable moments of this episode.

As was widely expected following her touching debut in ‘Asylum of the Daleks’, the hook of this year’s special was The Doctor’s new companion, Clara, who managed to showcase two sides of her acting ability as both a cockney barmaid and a governess. Together with Matt Smith, who was on top form and bringing us yet more subtle layers to our 11^th doctor, the two managed to achieve a chemistry that took Amy and The Doctor a whole series to achieve. They were intimate, they made the script their own and they laid the path for a new era of Doctor Who that promises to please all.

Unlike the last few Christmas specials, this episode was under a lot more pressure to succeed (especially given the lukewarm reception of last year’s ‘The Doctor, The Witch and The Wardrobe’) what with the re-introduction of our new companion, wrapping up the loss of the Ponds, leading us into the anticipated 50^th anniversary year whilst weaving everything together with a Christmas themed plot. From this point of view, ‘The Snowmen’ achieved the all important balance of humour, suspense, seriousness and fun that the Doctor Who of late has frequently missed, granting us one of the most enjoyable episodes of the past two seasons. The writing, acting and visuals were all at their best right when they needed to be and though I would have loved to see more of our villains, you can’t always have everything. Role on 2013!

8/10

Not quite the end of the world we'd hoped for

So the end of the world is upon us again… except it’s not, and much to the disappointment of everybody it seems! Of course, most of us just got on with our usual business, wrapping up our last minute Christmas shopping, forcing smiles to carol singers and opening the Brandy three days before planned (and why not, its Christmas!) but always with an ear open for news of our friends down under, just in case.

Social networks are crowded with blasé anticipation and airy references but not without proving that the western world loves nothing more than a potential Armageddon to get its juices going. Though we must wonder: If we had absolute faith that the Mayan’s were wrong then surely there would be no cause for discussion, but that’s the problem isn’t it? There’s a small part of us that still thinks it might just happen! Moreover, I dare say that many of us are secretly just itching for a reason to hide away in some convenient cave while destruction rains down above, with the hope that they will emerge with a brand new start, in a world without income tax, rush our traffic, plastic pin-ups, Nectar points and hopefully without the go compare man.

But alas we must continue the rat race, all staying quietly disappointed that the big 2012 shake-up was just the consequence of a Mayan scribe getting bored of all that calendar crafting. Are we ever going to have a decent apocalypse that doesn’t go off like a dud firework?

Live Review: Biffy Clyro's 'Only Revolutions' tour

 

As the crowd begins to get impatient, the lights dim and Simon Neil, Ben Johnston and James Johnston take to the stage. It all kicks off with forthcoming fifth record ‘Only Revolutions’ second single, and when I say it all kicks off, I mean a pit is forming immediately and we are neck deep in the energetic guitar riff of ‘That Golden Rule’. Following is ‘Living is a Problem Because Everything Dies’, which I half expect as Biffy have quite often opened with it since the release of ‘Puzzle’. Despite the predictability however, it’s probably the best song to get everyone shouting the lyrics after their mosh.

Then, out comes their brand new ‘Bubbles’ flanked by ‘A whole child ago’ and ‘Who’s got a match’ which are undoubtedly two crowd favorites since the success of ‘Puzzle’. Safe? Perhaps, but probably for the best. It may have resulted in an atmospheric drop had they thrown all their new stuff together at once. I had a similar feeling again with ‘Born on a Horse’ but it’s ingenious placement (following head-banging ‘9/15ths’ where the crowd inevitably chanted) served as an intense build to the insanity that was ‘57’, with Biffy owning the entire venue for the first time in the evening. The set of angled metal girders came alive with flashing lights, the strobes were on overtime and the crowd were alive with passion, screaming along with James Johnston’s renowned vocals in the chorus.

‘Machines’ then gave the crowd to relish in melody (as well as give them time to catch their breath after ‘57’) as Simon served it up with real emotion. The purple up-lighting and crowd involvement was very reminiscent of Biffy’s festival performances over the last year, a welcome refreshment for the die-hards. The rhythm’s of ‘Now I’m Everyone’ and ‘Love Has a Diameter’ had the crowd nodding with the beats again and lead us beautifully into the melodic ‘God and Satan’. This was another safe move by Biffy using two ‘Puzzle’ songs to flank a newbie, however crowd reactions to ‘Blackened Sky’ and ‘Justboy’ highlighted that Biffy know their audience.

After a successful reception of ‘The Captain’, their encore began with ‘Joy.Discovery.Invention’, which was happy relief for early fans and a great sing-along for the crowd, finally ending with the hugely popular ‘Semi-mental’ and ‘Mountains’ which left the crowd leaving on high.

Where I could take away points for some safe choices, I could also add points for delivering exactly what paying fans wanted. So it must be a solid:

7/10.

Photoshoot: A Husky cross German Shepherd named Lloyd