We’ve put Amazon Prime on trial. The retail juggernaut offers Prime free for a month. The jury’s out whether we’ll carry on once the trial is over. Not because it’s rubbish. It isn’t. But because Amazon has got too big for its boots. Just saying.
The trial did give us the chance to check out Prime Video and a couple of movies that took our fancy – ‘Dating Amber’ and ‘Everybody’s Talking About Jamie’. We’d not heard of the former but we’d seen the stage version of the latter beamed from the West End before the pandemic turned off the glitter ball.
Set in Ireland during the mid-90s, ‘Dating Amber’ tells the story of Eddie and Amber, two gay teens who decide to fake a romance to stop the kids at school from banging on about their sexuality. It’s a funny, sweet and touching coming out tale, and perfect for warming a cool autumnal evening.
The musical ‘Everybody’s Talking About Jamie’ was a surprise West End hit, inspired by the 2011 BBC documentary ‘Jamie: Drag Queen at 16’. The show follows the eponymous teenager as he beats the bullies and the bigots to slip on the high heels, sequined frock and big hair as a wannabe drag queen.
The show’s back on in the West End now and Prime recently premiered the film version. We liked the stage show but we loved the movie – gutsy, exuberant and courageous with a sparkling cast, including Max Harwood as Jamie.
And what do these two films have in common (apart from the bleedin’ obvious)? None other than fabulous Irish actress, writer and comedian Sharon Horgan who plays Eddie’s doting mother and Jamie’s tight-arsed teacher. Sharon Horgan’s all over our screens right now, making career hay while the TV sun shines. And who came blame her?
We love ‘POSE’ – a must-watch on the telly box. The first two series were compulsive viewing and pioneering in the heart-warming but warts-and-all portrayal of the LGBT drag ball scene of 80s and 90s New York. Gritty, witty and fabulous, the edgy drama pulled no punches. Life on the margins was rough and tumble and then AIDS joined the party to make it deadly. The cast of largely unknowns delivered a sparkling script with conviction and passion. It’s no surprise that POSE has been lavished with critical acclaim and showered with gongs and globes.
We could hardly wait for the third and final season on the BBC. It had already aired in the US – again to universal praise – so we were on the edge of our seats with anticipation. Tragically, it didn’t start well. The clunky plot of the opening episodes seemed like it had been chucked together by committee using keywords. Usually we don’t have a problem with Yankee accents but during one particular mumbling scene we had to switch on the subtitles. Touches of former brilliance did emerge mid-series but the saccharine pep talks about lurv just went on and on. The hard edge was lost. We still lurv POSE but the romance has sadly cooled.
So far, February has delivered freezing Russian snow and an icy blast from the past on Channel Four. Storm Darcy brought two-foot snowdrifts, abandoned cars and our resident pheasant pecking about for frozen morsels. But it was Russell T Davies’ AIDS-era drama, ‘It’s a Sin’, that really chilled us to the bone. Brilliant as it is, the series made for tough (though compulsive) viewing especially for those, like me, who survived the worst of times, ducking the Grim Reaper’s scythe by the skin of the teeth. By episode three I was ripping open the wine box to squeeze the last drop from the plastic bag.
Many have binge-watched the series on-demand. That wasn’t for us. There’s not enough wine in the box for that. So we took it as it came, broadcast-wise. Last night’s brutal and uncompromising finale was the bitter pill that had us fighting over the Kleenex. The irony of screening the series during another health crisis was not lost on us. I hear it’s gone down a storm with the current cohort of young gay boys putting it about town, leading to a record uptake in HIV testing. Good job, Russell.
This lockdown malarky has played havoc with our sense of time. Samey days have merged into one and our weekly routine now dances to an entirely new rhythm – the supermarkets giveth, the binmen taketh away. Much of our recycling rattles. Despite daily trips on the exercise bike and scenic walks down by the River Chet, we’ve both piled on the pounds. I daren’t pull on a pair of skinny jeans as it might cut off the circulation.
Personal care has suffered too. We wash, of course, but other essentials – shaving, haircuts and judicious pruning of other important little places – are on a strictly when-we-can-be-arsed basis. So much so, Liam is starting to resemble Catweazle.
For those not in the know, Catweazle, was a British children’s TV series back in the day. The eponymous Catweazle is an 11th century wizard who accidentally travels through time, arriving in 1969. Poor old Catweazle mistakes all modern technology for powerful magic, particularly ‘elec-trickery’ (electricity) and the ‘telling bone’ (telephone). It was a hugely successful show and I loved it as a 10 year-old!
Despite a charming and traditional appearance, Loddon Village comes with all mod cons – well, almost. A decent mobile phone signal would be nice. So imagine our surprise when we stumbled on this classic thirties Austin Seven in the church car park.
A few days on, feet up and glasses clinked, we settled down to watch the newly rebooted ‘All Creatures Great and Small’ on the telly box. Imagine our surprise when we spotted this classic Austin Seven taking centre stage.
Must be a rural thing.
All Creatures Great and Small is based on the books of the British country vet Alf Wight, writing as James Herriot. The hugely popular original series was made by the BBC and ran from the seventies all the way through to the noughties, so the Channel Five remake has a lot to live up to. So far so good – classy and timeless, just like the cars. And it wouldn’t be the same without James Herriot’s arm up a cow.