Tagged: Spike

Lock Up Your Daughters… Pulp’s In Town

I think, perhaps, I should stop making insulting comments about facebook in this blog and then linking it to my facebook account in the vain hope of ensnaring a reader or two. It’s not good form.

titlepageWhat is good, though, is that there’s a fabulous new publishing company in town: Pulp! THE CLASSICS. Its genius lies in its reprinting of select, classic bestsellers, all dolled up in pop-culture covers and ironic tag-lines. First up, of course, is Pride and Prejudice. Steamy blacks and reds mixed with pop-art yellows signal smouldering sex with just a hint of irony. I think. The tag-line reads “Lock Up Your Daughters… Darcy’s In Town!” The edition caught my eye in an instant, and I bought two, one for me (what can I say, I’m a fan, a fanatic, whatever…), and one for a pal with an eye for pop and the absurd, but who’s yet to be convinced of the wonderful worth of Miss Austen. I’m hoping to sneak her in through the side door with this version.

Of course, they got the tag-line wrong. If they wanted to go with the locks and daughters theme, it should have read, “Lock Up Your Daughters… Wickham’s In Town!” He is, after all, the one with a penchant for seducing 15 year olds. Where’s the fun in dwelling on technicalities, though? What’s more interesting is the enduring appeal, and the ongoing mythologising, of Darcy in the popular consciousness. On this cover, Darcy is Colin Firth, but Colin Firth as he might be cast as Dracula (Regency outfit aside), all lurking in the shadows and glowering menacingly, fag in mouth. Wait a minute. Fag in mouth? Well ok, so 50s alienated anti-heroes are also evoked – Rebel Without a Cause anybody? Or maybe there’s just a hint of our fave cigarette-smoking bad-boy vampire, Spike, in this little construction.

Anyway, for my money, this is a welcome addition to the publishing high street. Forthcoming editions will include Wuthering Heights and The Great Gatsby. Keep an eye on those daughters, now.

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Once More with Feeling

Readers of this blog will know that I recently chalked up a sustained absence from facebook, for which I felt duly smug (and, incidentally, to which I may return as my reactivated facebook account is fed on a daily basis with such sheer banality that it is increasingly a relief rather than a struggle to limit my usage). What I didn’t ’fess up to was that during that 37 day abstinence, I discovered LOVEFILM Instant. Technology will pull you in one way or another.

Now I have, on occasion, used LOVEFILM Instant in a grown-up, and well-reasoned sort of way. I’ve caught up on some films that I’d never have bothered to see at the cinema: Source Code, despite its schmaltzy ending, was kind of fabulous. But I have to be honest here: LOVEFILM Instant, for me, is really all about Buffy.

Sunnydale

Sunnydale (Photo credit: Wikipedia)

Of course, I loved the show the first time round. Who didn’t adore Willow and by extension first Oz, and then Tara? And with looks so utterly preposterous yet inexplicably cool, when Spike rolls into town, mowing down the ‘Welcome to Sunnydale’ sign on his way, who didn’t secretly want to be him? A heady mix of the ridiculous and touchingly human, amoral yet vulnerable, moronic but somehow insightful; this was a Vampire we could all fall for. And how we did.

10 years on from the emotional roller-coaster of that last ever episode, I have lost hours, no days, maybe even weeks, to the void, and LOVEFILM Instant is to blame. Every single episode, right there, ready at a tap of the touchpad. And when you build in all that extra buffering time to the Buffyverse, (my broadband, it would seem, ain’t all that broad) well, that’s a lot of time. I wonder how it stacks up against my last few years of facebook use? Whatever the maths though, I reckon weeks lost to the Buffyvoid are, when all is said and done, weeks worth losing. Because, this programme stands the test of time. In 2013, Buffy seems better than ever. Quirky. Straight. Tragic. Comic. Light. Dark. It’s all there in those 40+minute episodes, across the arcs of each season, all the way from ‘Welcome to the Hellmouth’ to ‘Chosen’. But what really does it for me, is the sheer scale of well drawn, central female characters. How often do we get to see this on screen? Recent British TV pales by contrast: the current season of Being Human is sorely disappointing. Can that ghost actually be said to possess a character? That is not rhetorical – please, somebody, tell me. Nor metaphysical. And what about the last season of The Hour? Is it possible to believe that that ineffectual, quivering-lipped, poor excuse for a boss actually heads up a crack, cutting-edge, current affairs programme? And don’t get me started on the wan’n’wistful-pseudo-French-pseudo-marxist-wifey who rocked up out of nowhere – all Jean Seberg crop and no trousers. What the hell were the writers thinking? Were the writers thinking? Here’s to Detective Inspector Sarah Lund. And please, please, please can we have some more kick-ass women on screen? Oh, and bringing back Spike wouldn’t hurt either.

Update: series 5 of Being Human got better. Not quite series 4 better, but it was a hell of a shame to see it go. The ghost improved. A little. But female characters remain the weakest on the show. Still, bring back Tom and Hal. Please.