Ricky Young takes a belated rummage through Steven Moffat’s slightly whiffy leavings.
As part of our look back over the seven years of MostlyFilm’s life, theTramp focusses on the small screen, and in particular what the big telly trends were in 2017.
It’s the end of an era for us; indeed it is the end of us. After almost seven years, MostlyFilm – for most of this decade, Europe’s Best Website – is calling it a day. But we’re not going to just walk away without leaving you a few things to remember us by. Between now and the New Year we’ll be giving you some of our signature columns, and in early January we will look back at our favourites from the last seven years.
So, to begin our farewell, we bring you the Monoglot Movie Club Season Finale, with a slight tweak in the rules to make it feel special. For (almost) the last time, let’s go over to our man in… Front of Netflix?
“So these 13 Poles walked into a bar…” starts Spank The Monkey, ominously.
A full year after it was originally broadcast, The Good Place is finally coming to the UK via Netflix. Spank The Monkey watched it on a plane a while ago: maybe now he’ll finally stop banging on about it to everyone.
The Tramp’s latest edition of “films you might overlook on streaming services but really they are worth a look honest” features Keira Knightley, a lot. Non-fans turn away now.
Ricky Young escapes from his ultimately-pointless vault to look at series ten of Doctor Who.
Jim Eaton-Terry looks at Dying Laughing, a new documentary on the life of the stand-up comic
There’s always something odd about an extended conversation with a really great stand up. Inevitably there’s the tension of waiting for a gag that never comes, which often distracts from the conversation. Comics are clearly aware of this, and the weaker ones will defuse the tension with a crowd-pleasing riff or two, but the best conversations strip away the humour and show how the world looks from the stage.
Today, we’re looking at texts within texts; shows within shows; films within films. We’ve got everything from Shakespeare to balls.
We’re three weeks into the TV adaptation of Margaret Atwood’s dystopian novel in the UK, The Handmaid’s Tale. Kate le Vann ponders if it is really a warning of things to come, or a reflection of the present.
Twin Peaks has returned, but does it meet expectations? theTramp investigates
When Twin Peaks first aired, back in 1990, its impact was monumental. I’m not talking about the impact that it had on television; the realisation that narrative structures could move about a bit, that magic realism could step off the page, that strong characters could lend themselves to unpredictable narrative formats and still be watchable. No I am talking about the impact that it had on me personally.