Review: Being Human 3.2: Adam's Family

"You know what I feel? Hungry."

Brian Dooley, this episode's writer, has one previous Being Human credit; 1.4, where he created the idea of Vampire Porn. Similarly perverted concepts are present in this episode, which suffers from the typical issues that plague Being Human on the whole, but also brings along its own, as if the episode is a private plot-hole garden party. So far, this series has depicted the Welsh as a bunch of sexual deviants, something which both irks and offends me.
     The point of the episode was essentially as a back-door pilot for an online spin-off show (see below) starring the titular Adam, a 46-year-old Vampire stuck with the body and mentality of a horny 16-year-old. He's played by child star Craig Roberts; ironic, as his last role was as a "breather" in the three series of CBBC show Young Dracula. Needless to say that he works brilliantly with the material given to him, which puts his irritating character arc soley down to that very writing. It wasn't clever, it wasn't gritty - it was just a basic demonisation of the teenage stereotype.
     With George and Nina tied up with Adam, Mitchell and Annie were left to rather jarringly form UST and, for the former in particular, to brood and be frightened. Local vampire agent Richard tracks Mitchell down and passes on the message of the Vampire Elders, who are mighty pissed at what Mitchell's been doing. They want to send him on a slow boat to South America, which, judging by all the death-threats coming out of the television, he's pretty eager to jump upon. But then, of course, he's got his sudden relationship with Annie to consider.

A gorrilla is one thing. This is another entirely.

     Meanwhile, in hospital, Adam's 80-odd dad dies, leaving him without a food source. Having heard that Richard's family has a good food supply, they go to their stately home and discover the truth; the family feed on a leather-bound gimp who enjoys being fed upon. Leaving Adam to his happy devices, the two doubting werewolves return to save the boy from the ritual they're about to put him through - namely, killing the gimp and then having sex with Richard's wife Emma on the billiards table.* Adam chooses to leave, and is sent off on a train somewhere North.
     The main episode was, quite simply, a shambles. The Mitchell subplot was incredibly dull, and the main ridiculous. While it did manage to express some of the complexities of the teenage mind, it eventually fell back on the horrendous stereotype that this group is subject to. Kevin and Perry, eat your heart out. Even the message about parenting was skewered by the fact that Adam eventualy just grew up in a heartbeat. It wasn't captivating, or overtly interesting beyond the bile fascination of seeing how low the episode can sink. Other Pet Peeves this episode include the ever more annoying Lenora Crichlow and the inconsistancy of Mitchell's condition. Also, gimps? Doggers? Is this really what the show has fallen to?

The cast of Becoming Human.

     On a more positive note, the actual 12 minute pilot of Becoming Human was far better written than the actual episode. Adam was much more bearable, new love interest and werewolf Christa (Leila Mimmack) was portrayed as a realistically moody teenager, and the comic relief character, ghost Matt (Josh Brown), was by far more identifiable and funny than anything in the current series of its parent show.
      Being Human is beginning to feel bereft of life, an ironic situation considering its content but a valid comment none-the-less. There's none of the fun, none of the chirpy sitcom ideas that made the series watchable. The show and its characters are designed for a comedy drama, and the absense of the former is beginning to show.

Thanks.

A Few Words: Red Dwarf Extras

Red Dwarf - Only The Good "Alternate" Ending


The originally filmed ending to Only The Good, this would have neatly left the series open for other incursions later on, and as such neatly explains Back To Earth in canon. It's not a good ending by any stretch, and it doesn't tie the series to a close, but what it does do is present a logical, funny end to Series Eight and it doesn't feature the fucking Grim Reaper.

The Red Dwarf Children in Need Special


Children in Need usually offers up some fun stuff, not all of it worth more than five minutes of your time. Here's a Youtube video of the Red Dwarf Children In Need episode from between Series VII and VIII, and is, in my opinion, several times funnier than either of those series combined.

Thanks.

Review: GHTTB: LoM 2.7 and 2.8 (Finale)

The end grows nearer for the twisting tale of Sam Tyler.

Life On Mars, Series Two, Episode Seven
We begin our penultimate pair with an episode that gives Gene his just desserts as a character, putting him on the run and, as in 2.3, a more vulnerable character. However, more focus is given to Sam and his new colleague, acting DCI Frank Morgan.
     After witnessing the trial of crime-lord and briber Terry Haslam, Gene goes out on a drunken bender. Upon waking up in the morning, he rings Sam and tells him how he has woken up in Haslam's house, with his blood-soaked body lying opposite. Gene is arrested but escapes, as the evidence piles up against him. Sam eventually finds Gene, and together they work out the identity of their muderer - the man Terry Haslam was about to be convicted for assaulting.
     The episode often feels... empty, intangible. There isn't much to it; a basic run around with a few snarky remarks here or there. There's no tension, no doubt that Gene is 100% innocent all the way. In fact, it's more of an extended prequel to the finale.

Life On Mars, Series Two, Episode Eight (Finale)
"If you can feel, you're alive. If you don't feel, you're not."

Hour Sixteen, and the show needs a great finale of its two year journey, and for the journey of Sam Tyler. We knew this day would come. So, how does the episode tie up the loose ends left by the series? Well, to put it simply, very badly. Instead of putting all the pieces together to make a pretty picture, the episode prefers to carve the puzzle pieces into new shapes and then cry when they don't fit together any more.
     The main plot with the supporting cast had Gene lose all character development just for the sake of plot, putting his officers on the line in a risky sting operation featuring a train robbery. Sam was, as usual, averse to the idea, this time provoked by his newfound belief that Frank Morgan is in fact the surgeon operating on his brain. Working with Morgen, who tries to convince Sam that this is in fact 197 and that he went mad in the accident, Sam botches the sting and manage to wake up in the present. Worrying for his health, Sam sends off a psychologist's report to DI Alex Drake in London (Ashes to Ashes, here we come!) and then, upon realising that he can't feel his life, commits suicide. This somehow lets him arrive back in 1973, where he sorts out the robbers with a few gunshots and they all drive off into the sunset.
     The episode did absolutely eff all to bring the series to a hilt other than bringing the titular character back to the future, and it even reneged on that side of the bargain. It seems as if this episode was written some time back in Series One, because there is absoultely no character development present from previous episodes. Considering that Gene just got off a murder charge, is it really sane, even for him, to do something as stupid as here? No, it isn't. What a dissappointing end to an otherwise decent series.

Thanks.

P.S. Come on, you know me better than that. The GHTTB returns next week, with Ashes to Ashes!
    

Review: Lost 4.4: Eggtown

Kate faces trial. for a history of bad episodes.

Ah, Kate. Never before has the "Ms. Fanservice" character been so disasterously empty, so vapid and void of any likeable characteristics, so troublesome and irritating and yet so revered by the plot. She is a character that didn't deserve to live beyond the first series, and exists soley as a means of causing conflict between the characters. This, ladies and gentlemen, is a Kate-centric episode, and carries around her usual selfish, unlikable shade like the plague. Luckily, it seems to be saved by its suddenly more noticably brilliant performances from the rest of the cast, emphasised by the central character's nihilistic presence.
     I'll deal with the Flashforward plot first, since that at least follows a cohesive, if dull, storyline. A few years after the return, and Kate is being put on trial for all the shit she did to her stepfather (blowing his house up) before she fled to Australia and boarded Oceanic 815. Her defence is less useful than a ham sandwich at a bar mitzvah, however, because before fleeing she confessed to her dying, disabled mother. Their only defence so far is to call in Jack (who manages to weasel in everywhere...) as a character witness, telling the tale of the Oceanic 6 to a crowded courtroom as he would to a small child. After persuading her mother to let her go, she gets off scot-free, and is revealed to be taking care of Aaron, the son of fellow survivor Claire. If I'm honest Kate was played against type here, as although she was still moody and irritating, she at least found some honesty and proffessionalism. The opposite of what happens in the present.

Kate, in her natural habitat.

     Speaking of the devil, Kate is buzzing about Locke's camp to prevent that particular trial from ever taking place. The episode, unlike last week, tries its best to give us a few moments for other characters and hopefully take our minds off the main lead. Here's the lowdown: Kate is trying to interrogate Freighter boy Miles on what the outside world knows about her and her absurdly long list of crimes. In return, Miles wants a few minutes to give a ridiculous ransom demand to Ben. She does this, and it all goes to plan. Hmmm. Oh, and she fucks Sawyer inbetween. (Or at least pretends to, it is later revealed. I really couldn't care.) Having seen the trial, we know the answer to her question, and any tension in the episode is forever lost, like this damn programme.
     Elsewhere, and any scene without Kate seems to be a vast improvement. Usually boring Koreans Jin and Sun share some heart-warming talk about where their baby is going to live, that ultimately leads to nowhere, and Jack calls the freighter and discovers that after a day or so, the helicopter with Sayid and Desmond still hasn't arrived. A nice set up for next week's episode, then, which covers that very fact. Locke had some great scenes with quiet schemer Ben, that really don't belong with anything else this episode has to offer.

"Taken from my own bookshelf..."

     This episode is certainly more enjoyable than last week's retread of old storylines, even if the motivations behind certain character's actions are a bit iffy (summed up nicely with Kate's mantra, and motto, of "Do you know who I am?",which provides some rare non-sexual double entendre.) It is certainly quite bad in a lot of places, but in those sections it often crosses the border into So Bad It's Good. If anything can be said of it, it's that I wasn't bored, which is a one-up on most Kate episodes. It seems as if the writers are either trying to compensate for all the Kate-Hate by throwing a lot of other characters in, or they've simply identified how empty the character is and knew that they couldn't fill an episode with it. Either way, it shows that the writers care, which is nice. Eggtown (weird title excluded) was an episode that would have been perfect if not for the horrifically bad character at its centre, but considering that, it made a decent ommelete with rotten eggs.
     Next week, the best episode of Lost that I've seen. Only the fifth... out of fourteen. God help me with this series.

Thanks.
      

From The Archive: Opinion: Alton Towers Trip 2010

Back in early 2010 I promised a review of my trip to Alton Towers with school. It took me a while to get around to writing it, and when I did write it I wasn't very happy with the results. I felt I was being over-analytical and too formal, and that I was letting my personal prejudices to do with rides etc. get in the way.
     Regardless, I've decided to dig up that review from my Archives and finally, around six months later than promised, post it on the site. Keep in mind my own reservations, and read on.

-------------------------
Written Summer 2010. Trip occurred in July 2010.

I've been struggling to get round to writing this, mainly because at the time, I felt more of an indifference towards the park then any particular strong opinion. Regardless, it's time for me to take a look at the money-sink that is Alton Towers, and whether we should let it walk over the park's history.
     I made it my aim this time to show my partner around the park, as he had never been before. It was therefore in my best interests to explore every area of the park, looking at design, enjoyment and hospitality. Despite my position that adrenaline thrills are a waste of time, I tried to keep an unbiased view.
     As always, the park is a very immersive experience - several theming devices and a constant source of music make the surreal areas more believable. The main areas of the park looked at Pirates, Jungles, Tech Parks and then more kiddie themed Fairytale and Cloud Cookoo Lands. These areas are well-spaced and connected, with several routes between them, and the maps are fairly clear as well as being colourful and a good display of what's on offer.
     In my last visit, I was badgered by stall-owners as I walked past, to my great annoyance. This has been eradicated, although the prices are still sky-high. Alton Towers is a pure cash-cow; designed to sink as much money as possible from its customers. And, it seems, it is succeeding.
     And now to where I wanted to go on this trip; the two areas of the park most true to its spirit and yet also sadly rejected - the Towers themselves, and the Gardens. Before entering these areas, park-supervisors actually asked us whether we wanted to go in there, or whether we were simply mixed up. And this shouldn't be the attitude; both are well-kept areas of historical significance, and are quite beautiful in their own way.

Castle Gardens

     Alton Towers itself was a settlement looking back to around 1000B.C., but the current castle was built as an extension to a hunting lodge after the English Civil War in the 1600s. The castle is now used for weddin ceremonies, although it is fully possible to explore the ruins, taking a look at the old kitchens and the several writing rooms and lounges. The rooves offer a great view of not only the park but also the surrounding countryside.
     The Gardens on the other hand are much more well-preserved. Straddling a valley between two of the park's main areas, Charles's Talbots gardens are just a wonderful work of art, taking from many different cultures and perfectly understanding the subtlties of garden design. There're the Roman colummns, the large Eastern Pagoda, the Lily Pond, the statues, and many other interesting sections.
     So, I conclude. Alton Towers has a great atmosphere and you can have a really fun time. The sheer amount of care and effort put into keeping the park clean and safe is astounding, even in the areas where less emphasis is placed on people visiting. However, some of the park staff can sometimes get in the way of your enjoyment, even though they do it less than in the past.

Thanks.

Review: Misfits 1.4

Curtis lands six months in the past.

The best episode of Series One in terms of plot and character drama, 1.4 focuses on Curtis and explores not only his past, but the pasts of all the Misfits. It's a flashback episode, intertwined with some delicious Sci-Fi and the usual character comedy. While somewhat predictable in its sci-fi trapping, the episode's character moments (courtesy of Mr. Howard Overman) tied it all up with a pretty bow.
     Our main plot focus looks at Curtis, who goes to the community one day to find his ex-girlfriend Sam released from prison. Feeling regret about the events six months previous, his power kicks in and he is sent back to the dingy, Skins-esque nightclub where it all took place. Following his instincts, he runs from the police and flushes the drugs he's been given down the toilet, before having to face the angry drug dealer, who kills Sam.

Nathan irritates Beverly.

His Regret-o-matic (that's a cool name; I might use it more often) kicking in again, he follows a more thought-out course of action in which he stashes the drugs under a car-tyre and is able to continue with his athletic career. However, a jump back to the present shows the direct consequence of his actions; in this timeline, his Regret-o-matic wasn't there to save his friends at the community centre. Jumping back again, he gets himself arrested but takes all the blame off of Sam. Not that much of a complicated time-travel plot; simply a double case of Set Right What Once Went Wrong, but it fits quite snugly and it's unlike anything Misfits has thrown at us so far.
     Nathan happened to be committing his particular crime at the same time, harrassing bowling-alley worker Beverly (a name that Nathan mercilessly mocks). This is all played for humour, but there are a good few moments featuring Dexter Fletcher as Nathan's absent father Mike (later to be seen in 2.2.). Fletcher seems the perfect choice, a parallel to Nathan's carefree attitude but in a much more groggy and cynical state. We also saw a drunken Kelly get engaged to by her boyfriend while breaking into the car of probation worker Tony and his girlfriend Sally. We also see Simon get rejected by one of his friends, who texted him an invitation by accident. Unlike other shows, where this would just be fluff, a lot of this character work was useful in previous episodes or will be useful in the future.

Ex-girlfriend Sam is out of jail.

     Despite the series' Character-a-week format (at least in Series One), this episode really benefitted by involving all characters in the nightmare. It often helped soften Curtis' gritty, drug-fuelled fear sprint into something more deep and certainly more interesting to watch. It's a well crafted hour at that, with plenty of parallels throughout. As the series heads towards its end, this episode shows us just how good it can get.

Thanks.

Review: Being Human 3.1: Lia

Lia (Lacey Turner) lays out Mitchell's (Aiden Turner) future.

Being Human is a surprise-hit indie show, developed as a comedy-drama three years ago on student-oriented channel BBC Three. The premise was simple; a werewolf (the melodramatic George, played by Russell Tovey), a vampire (dark Mitchell, played by Aiden Turner) and a ghost (madcap trauma victim Annie, played by Lenora Crichlow) share a bedsit in Bristol and try their best at "being human". Series One tended to focus more on the comedy aspect, developing the storylines lightly and ending with a vampire-empire centred finale. The expanded second series upped the ante by adding George's accidental werewolf girlfriend Nina (Sinead Keenan) and finishing with a riproaring two episodes, in which Mitchell let himself go and killed a train-passage's worht of people and Annie was exorcised into Purgatory.
     That's not necessarily to say that the finale was good; it was far too convenient and rushed, relying more on a sort of awe factor rather than having any skill. Regardless, Series Three, which brings with it a move to Barry Island in Wales, needs to tackles the issues it left behind. Thus it begins, with three distinct storylines.

"I saw another one. Another one of us."

     Our main plot sees a depressed Mitchell forced to go into Purgatory to retrieve Annie. There, he is guided through his past killings by strange guide Lia (a wonderful Lacey Turner, playing a much more chirpy version of her character in Eastenders). After seeing over 100 years worth of killing, Mitchell finally arrives at the Carriage, where Lia reveals that she was in seat E12, and makes him see the error of his ways. He demands punishment for his actions (kinky...) but she releases Annie anyway, on the condition that he knows that he will be killed by "a wolf-shaped bullet". I'm very glad that the producers used an episode to sort this out, and didn't simply sort it out in five minutes as has been done before in some other shows. It's also a good character study of Mitchell, a character for whom we've had paradoxical development.
     Rather strangely for Being Human, this week we had a Guest Plot of sorts. Werewolf father and son, known only as MacNair (played by Robson Green and Micheal Socha, brother of Lauren Socha, respectively), live a quiet life in Barry. As it's nearing the full moon, a group of vampires (who have a terribly rascist attitude towards other Specials) kidnap Daddy MacNair and make him rip up an innocent bystander. Elsewhere, George is out doing his Werewolf preparations in the forest and runs into Thomas MacNair, who he chases until he ends up arrested by police (who suspect him of dogging). Nina is forced to come to his rescue and they transform together. These two lines were played off against each other, with brilliant tension. Yet again, the effects used for the werewolf transformation sequences is animatronic rather than artificial, which makes it more realistic in comparison to the recent US remake's CGI.

George (Russell Tovey) sees Thomas (Michael Socha).

     As to guest stars, this episode's were a consistantly brilliant bunch. Lacey Turner was clearly having fun with the part, bringing a light-hearted complacancy underlay with madness, as well as a flexibility when made to be serious at the end. Big-time actor Robson Green does his stuff, with an underrated portrayl of a bitter family man driven to the edge. Michael Socha follows in his sister's footsteps, a brilliant start to his career.
     This opener is the strongest so far in terms of drama, but it does have its flaws. The George and Nina storyline seems mundane and simply a way of moving them around; it's not like we haven't seen the "need to find a place to transform, NOW!" situation before. In the end, the only thing that line brought to the table was a few injections of absurdity and sex to the preceedings, as if BBC Three don't thing the students can handle their absence. There was also a pretentious voiceover at the end from Annie. Seriously, VOs are a no-no for a big drama, especially when badly spoken by Lenora bloody Crichlow.
     In light of that, this opener certainly could have been stronger in a few areas but overall it sets the tone of Series Three and the Purgatory line is an entertaining and dark character study of Mitchell, by the far the show's most interesting character. It's sort of a Rimmer situation; you identify that a character is strong and deserves emphasis, but not when that emphasis takes over everything else. It was a shame that the episode couldn't hit that needed balance. If it had, it would have gone from entertaining, to brilliant.

Thanks.

Review: GHTTB: LoM 2.5 and 2.6

Life On Mars, Series Two, Episode Five

Sam sees signs of his condition everywhere.

 "I can just about handle you driving like a madman, and treating women like beanbags, but I'll say this only once Gene: STAY. OUT. OF CAMBERWICK GREEN."

Something like this had to happen sooner or later. In an artificial world scenario, there'll always be one episode so completely psychadelic and mad that it defies explanation. Very strangely, this doesn't hinder this episode's strength, which lies in its use of techniques like flashback and unreliable narration, ideas alien to the series.
     The episode's calling card was that Sam has been given an accidental overdose and has thus been down and out for a few days. While he's been asleep, Simon Lamb (Reese Dinsdale, terrific actor. He's always being sad and deppressed, though) has come in asking for the release of Graham Bathehurst, the boyfriend and suspected murderer of a girl murdered last year. His family has been kidnapped by an unknown figure making the demands, and the approaching deadline forces Sam to go over the case files from that time last year (through use of flashback). I won't spoil the ending for you, but it is very good and connects well with the rest of the episode.
     Finally, an episode where the police procedural takes precedent over the sci-fi but doesn't completely overshadow it. The two aspects compliment each other, make each other stronger and more potent. When Sam goes into a deeper coma because of new stimulants, you share his frustration and want to get back to the case. It seems a little strange that this episode is improved by Sam's rather backseat position, but that's maybe because our 1973 vs 2006 argument is getting a little tired. But no, because it's that argument, that drama, that fuels this episode and makes it the best episode of the series.

Life On Mars, Series Two, Episode Six
"I could murder an Indian"
Toolbox

Episode Six takes a look at the birth of "immigrant culture" in Britain during the 1970s, a result of the Ugandan expulsion of Asians. In-universe this includes the father of Sam's 2006 girlfriend, Maya. As an episode examining prejudice it displays 1970s attitudes but doesn't say much about them, instead tying it in with the future storyline. It also tries to tackle the issue of heroin, bundling both in one go.
     Ugandan-Asian Depak Gandhi is shot, and found with Turkish heroin. Sam finds the victim's girlfriend Layla (a pre-Misfits Alex Reid). A prejudiced Gene goes round the local drug-dealer Rocket to find out more info, and after more heroin deaths employs local enforcer "Toolbox" (Ian Puleston-Davies, who's been in everything) to get info out of him. They "trace" it back to Depak's brother Ravi, who joint-owned the record store suspected of dealing out the heroin.
     After realising the Layla (real name Lesley Roy) is Maya's mother, Sam takes info from a skinhead about an antiques warehouse where the heroin is being stored. They raid the warehouse and Gene calls in Toolbox for further "investigation". When Sam and Annie try and get Ravi in safely, all three are knocked out by Toolbox's men. In the climax, it is revealed that Toolbox has been behind everything; the drugs, the shooting, and the racially motivated attacks.
The episode is very busy because of all the things it is try to do, an because of that it doesn't really manage to do any of them. It does, however, provide an interesting and thoughtful piece of entertainment, unfettered by any overt cultural references. It's very potent and concentrated, and comes off as a little over-serious for it. At the same time, Gene's flair for euphemistic similie and metaphor provide the reverse. Life On Mars is a study of contrast. Ultimately this episode provides at least an inspiration for thought about the issues at hand, but its mix of concentrated seriousness and thick, convaluted plot makes it something more than quiet Friday-night entertainment.

 Thanks.

Review: GHTTB: LoM 2.3 and 2.4

Life On Mars, Series Two, Episode Three 

Red? Or Yellow? Sam fights mental indecision.

Episode Three is quite a potent hour whose central theme runs constant throughout and never lets up, as well as pulling the nostalgia strings on a common terror of the Seventies. It's the first episode to really make us both connect with Sam and the opposite: the first episode to show us Sam's more fallible side. Protagonists are like scientific theories; they're only valid and correct if we can see them being falsified.
     Sam's "falsification" came when he misjudged a suspected IRA bomb attack that led a cocky Ray to end up in hospital. In the real world, the coma was beginning to alter Sam's sense of judgement and decision making skills - presenting him with exaggerated dilmemmas like choosing which wire to defuse a bomb with. His internal struggle actually overshadows (and compliments) the main plot of the episode, which sees Sam struggle with an Irish-hating Gene and a distrusting department. This sort of thing was what 1.2 was aiming for, and a second round has made the format much sharper.
     If there's anything negative I have to say, then it's that Ray's lack of sympathetic characterisation makes it more likely for the viewer to side with the over-confident Sam, who in the end turns out to be right that the bombers weren't IRA. It seems a tad pointless that in an episode showing our protagonist's weakness he is proven right anyway. Otherwise, the episode is very strong and a sign that Series Two knows what it's doing with its characters. Good character drama and a chilling callback to a more dangerous age.
    

 Life On Mars, Series Two, Episode Four
 Gosh. Life On Mars dives into the other main Seventies preoccupation, with an episode designed to look at... crappy parties? The script is crude; a long line of sex jokes and cultural references, with the only connection to reality being a vague appearance by Sam's beloved Auntie Heather (Katherine Kelly, currently Becky in Coronation Street) who hasn't been mentioned before this episode and will never be mentioned again.
     A woman is found and Sam recognises her distinct perfume, identifying her as a Boudoir Lady (of which Sam's Aunt was). They get info from Boudoir lady Denise Williams (Georgia Taylor, currently playing insane doctor Ruth in Casualty) about the activities of local car-dealer Roger Twilling, who holds private sex-parties and "employs" the girls to hang out.
     After a lot of faffing about using Surveillance (cueing a barrage of future-related jokes), Sam and Annie infiltrate one of the parties as "Tony and Cherie Blair". After they bust the sex party, they discover that the real murderer is Roger's jealous wife Carol (played chillingly by Eva Pope, of Waterloo Road fame). The plot itself is basic crime-show fare, and the things that both help and hinder it are the character fuzz around it.
    Not the most awful episode in the series (no episode is truely awful, just a little dull) by far, but the entire plot's reliance on corny seventies nostalgia really isolates a lot of viewers from the party. On the positive, the "fuzz" as I call it is quite funny most of the time, even if it slowly dates as we edge ever further away from 2007.

Thanks.

Red Dwarf lands on Dave in 2012

Red Dwarf was a brilliant Sci Fi comedy that ran on BBC Two from 1988-1993 and then 1998-9. The series was then ressurrected for a three-part special in 2009 by Dave. Long term readers will know how much I love this show, seeing as I've reviewed every episode.
     Before now any news of any more Dwarf has been confined to rumour and speculation. A few days ago, main actor Craig Charles revealed to Real Radio that, "…they’ve commissioned another series of Red Dwarf, We’re gonna film at the end of November December and January." This is the first solid evidence we have that there will be new Dwarf, and adding to that, "The plan at the moment, and this could change,  is that we record the new series in front of an audience" for the first time since 1998.
     I'll certainly be watching in.... a year's time, and hopefully Audenshaw Reviews will still be around to review it.

Thanks.

PS: I'd like to thank Obsessed with Film for breaking this news and indirectly bringing it to my attention.