‘Mamma Mia!’ is silly singalong foot-tapping ABBA-fest, a huge block of cheesiness that leaves a warm glow inside like a sugary bowl of Ready Brek. It’s one the most successful British films ever. So what about the sequel, ‘Mamma Mia! Here We Go Again’? Often sequels are rubbish. This one, though, is right on the money, money, money. The one liners are sharper, the flares wider, the platforms higher, the sequins flashier. The cast had a ball and so did we. And there wasn’t a dry eye in the house by the end.
Liam hyperventilated at the prospect of watching Eurovision’s Greatest Hits, an extravaganza beamed across Europe by the BBC to celebrate the sixtieth anniversary of the travelling camp fest. I slipped a little something in his Rioja to calm him down. Compered by Graham Norton in his newly acquired hipster whiskers and the posh-frocked Swede, Petra Mede, the show featured some of the contest’s most iconic/dire/fabulous/dreadful (delete according to taste) songs from times past – Brotherhood of Man, Johnny Logan, Lordi, Nicole, Bobby Socks (who?) to name but a few. Sadly, ABBA didn’t reform for the celebration but the BBC did chuck in Riverdance to get the feet tapping (an interval act that was one of the best things to ever emerge from the competition).
Eurovision has come a long way since Pearl Carr and Teddy Johnson represented Le Royaume-Uni in 1959 with Sing, Little Birdie. Now we have the transgender Dana International (winner for Israel in 1998) and Conchita Wurst, the bearded lady (winner for Austria 2014) singing a duet holding hands. Way to go, sisters – changing the world one sequin at a time and really pissing off the bigots.