Culture Bites #2

I’m back again. You’re back again. I love this for us! Here’s this week’s round-up of things I’ve seen, done and read – hope you enjoy. (Don’t be afraid of messaging and letting me know if you do like this new format, after months of being unable to write – I could do with the affirmation!)

Film: Better Man (Out in the UK December 26th)

When the director Michael Gracey (The Greatest Showman) heard Robbie Williams’ self-reflection about his career and how it felt like being ‘dragged up on stage to perform like a monkey’ – he knew the idea for his new project. And so we have a musical biopic like no other, where Robbie Williams (providing voiceover and vocals) tells us his life story, where he appears as a monkey. The brilliant thing is, that is never explained or addressed in the film. He has human family, human partners and does everything a human boy then man would do – he just happens to be a monkey. It’s simultaneously an exceptionally on-the-nose allegory and yet is oddly subtle, wonderfully entertaining, unexpectedly profound and at times immensely moving – a combination which sums up the man, myth, legend himself. Flying through it’s over two hour runtime, we learn about Robbie’s difficult relationship with his dad and how it shaped him – for better and way worse. We watch the multiple rises and falls, the glorious highs and bitterly dark lows; along with some vital reflection on addiction, mental health, masculinity and imposter syndrome. Williams is an open and honest tour guide to his past, unafraid to tell us his thoughts and admit his own mistakes. It’s closest comparison would be Elton John’s Rocketman, both films able to balance being exposing yet entertaining. Really cannot wait to see this again! [4.5/5 stars]

TV: Boybands Forever (3 x 60 mins docuseries on BBC iPlayer now)

A fantastic inadvertent companion piece to Better Man, as Robbie is one of the man talking heads who features, with episode one especially being about Take That and the struggles that went on under the surface. Covering the just-over a decade where boybands dominated the teenage hearts and music charts of the nation, we get to hear from the people who were at the centre of the madness – the ‘boys’ themselves, the music men responsible for the machinations of machine that curated them and the press who lauded and lambasted them. The result is a fascinating and extraordinarily insightful re-examining that shows both how far we have come as a society and also how, still, not nearly enough is being done to protect budding popstars from the shark-infested waters they get thrown in. [5/5 stars]

Gladiator II' Review: Ridley Scott's sequel with Superb Ensemble Cast

Film: Gladiator II (Out now)

It’s the obvious opener to this mini review, to rhetorically propose ‘are you not entertained’ by Gladiator II? The answer is, mostly entertained. Pretty much entertained. Does the job entertained. Running at 158 minutes, the film maintains interest at a steady pace – there are much shorter films that feel far longer. But, it’s not the kind of film you’ll be thinking about after, not like it’s iconic predecessor. That’s because it feels like it’s treading a lot of the same paths as it’s older sibling, but less potently. Considering the amount of deaths that occur, even within the film’s opening sequence alone, it’s surprisingly bloodless – until the odd surprise here and there. Instead of the powerhouse central lead that Russell Crowe provided, we’re split between the loyalties of two perfectly decent – if under characterised and slightly unremarkable – figures (Paul Mescal and Pedro Pascal). The entertainment, perhaps unsurprisingly, comes from our villains. Denzel Washington especially seems to be having a blast, hamming it up panto style as a plotting Iago-esque figure who steals every scene he’s in – no mean feat considering how clunky the majority of the dialogue is. Solid, if overly broody. [3.5/5 stars]

The People on Platform 5 — Clare Pooley

Book: The People on Platform 5 by Clare Pooley (Out now – currently 99p on Kindle!!!)

Stories about Found Families, and/or when an unlikely community have to come together to overcome difficult circumstances – those bad boys are my kryptonite. When the world feels bleaker, darker and scarier near-enough by the day, why wouldn’t you want to read a book where hope prevails in the fact of love & unswerving support? Having loved How To Age Disgracefully (in my top 5 releases of 2024) I was optimistic I’d like this one too, thankfully I was very right in that thinking. Short chapters, told from alternating character points-of-view, is ideal when coming out a reading slump – especially when the characters are this developed and delightful. We first meet Iona, an aging former IT girl who is clinging to her job as a magazine advice columnist. Every day she boards the 8.05 train to Waterloo, following the exact same routines, ascribing a nickname to her fellow commuters. When a near-death experience brings a group of them together, with Iona as the unexpected centre, they all come to realise that reality is often far more brilliant than the assumptions we might make. Delightfully life-affirming. [5/5 stars]

Film: Wicked (In cinemas worldwide now)

Am I intentionally burying this review at the bottom because I’m afraid it will cause a scandal? No comment. I acknowledge that this is a film that is both tailor-made for me (because I love musicals, all things camp, fantasy and gorgeous costumes) but also isn’t for me in the slightest (I have no real affection or connection to the story, I saw the stage show for the first and last time 8 years ago and thought it was perfectly fine). Aside from having Defying Gravity on my musical theatre running playlist, I don’t really know the soundtrack either. I did, however, go into the film open-minded if sceptical about the runtime. This 161 minute long film is part one of the story, which takes you up to the interval in the stage show. The stage show, in total, is 165 minutes long.

How wisely that additional amount of time is spend will depend on your overall affinity with the show, for fans this is undoubtedly an invaluable opportunity to spend even longer in this magical world you have adored from afar for so long. It certainly is immersive, the set design and costumes are beautiful. Ariana Grande and Cynthia Erivo are fantastic leads, both performances have a real sense of nuance and characterisation, even if their press tour has been side-eye inducing to say the least. Jonathan Bailey is phenomenal as Fiyero, the man has so much charisma he could impregnate a wall just by looking at it. But, where I get unstuck is the story and some of the dialogue. Without the years of nostalgia, I found myself unable to truly get on board for this adventure. [3/5 stars]

Culture Bites #1

Right. I’ve had the worst writer’s block I’ve ever had and it’s been several months I’ve written anything. As I’m writing it, I’m impressed I’m even managing to write this. This is my first blog post since May. Madness. So, after a very productive chat with my dad, I’ve come up with this hopeful antidote. Every week I see and do a lot of things, so instead of a big ol’ review for each – I’m going to try and do a weekly recap my adventures through mini reviews. Hopefully they’ll be useful to you, beloved and generous and patient readers, as well as a way of me being able to build up my writing muscles again (like the literary variant of couch to 5k!) So, here we go, welcome to Culture Bites #1.

Film: Paddington in Peru (Out now)

It feels wrong to write the words ‘Paddington’ and ‘perfectly fine’ in the same sentence, and yet… The third in the series, and the first not directed by Paul King, Paddington in Peru follows the British sitcom tradition of packing off the central ensemble to a foreign country for an adventure – in this case, trying to find Paddington’s beloved Aunt Lucy who has gone missing in the Peruvian jungle. There’s some nice moments, and we get to see the characters we love doing the things we love about them (aside from Mrs Brown now looking like Emily Mortimer rather than Sally Hawkins). But those central comedic moments (the escalator, the toothbrushing, barbers, Knuckles – to name but a few) just aren’t there. Whilst the jungle adventure is entertaining, it doesn’t provide the joy or laughter that we get from the community of Windsor Gardens. It’s not Paddington 2, but then, really, few things are. [3.5/5 stars]

Film: Conclave (Out November 29th)

Sometimes you just want to watch actors act their socks off. Ralph Fiennes. Stanley Tucci. John Lithgow. All three provide exceptional performances in this drama set during a papal conclave to elect the next pope, Fiennes is the man in charge – overseeing proceedings whilst also investigating the secrets and scandals that surround the candidates. The cinematic equivalent of sitting in a comfy leather tub chair, with a whisky on the rocks in one hand and a cigar in the other, a well-crafted drama with thriller and mystery elements. Entertaining, suspenseful and thought-provoking. [4/5 stars]

Book: So Thrilled For You by Holly Bourne (Out January 16th 2025)

Few authors write millennial women as beliveably and authentically as Holly Bourne. So Thrilled For You is no exceptional, alternating between the viewpoints of four very different women. Friends since university, nearly a decade on they are growing apart for a multitude of reasons – a prevailing one being how women in their 30s become judged then defined by their decisions over motherhood (to have or not, the choices made over birth and childrearing, or what if having them can’t happen for reasons beyond their control). An essential read to encourage and build empathy when we oft are oblivious to so many of these issues if we don’t directly experience them. A powerful and bittersweet wonder of a book. [5/5 stars]

Theatre: Dr Strangelove (Running until January 25th 2025)

To quote Dr Ian Malcolm in Jurassic Park, ‘Just because we could doesn’t mean we should.’ With Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb having existed since 1964, did we really need a stage show version of it? Having seen it, the answer is – sort of, not really? Directed by Armando Iannucci, there really isn’t all that much here that is different to the film version. If anything, considering it’s an Iannucci vehicle, you’d expect the dialogue to be even crisper than what we actually get. And, considering all that is going on in the world right now, simply recreating the film goes to show just how timeless the film is and how stupid humanity is for seemingly using it as a handbook rather than a lesson. The USP of seeing this adaptation is Steve Coogan’s performance as 4 separate roles, à la Peter Sellers in the film. They’re strong performances, each character distinctive and well directed to allow for these multiple simultaneous appearances. Whilst there’s style and flair, it all feels a bit safe and reliant on star power. [4/5 stars]

TV: Say Nothing (Out now, on Disney+)

Disney+ continue to be making a name for themselves with some stellar tv. After last month’s sweet and saucy Rivals, we’ve got this exceptional and provocative drama. A 9-episode series, based on the 2019 book ‘Say Nothing: A True Story of Murder and Memory in Northern Ireland’, we learn about the lives of a group of people growing up in Belfast in the 1970s-90s – courtesy of a frame narrative of interviews that were conducted by Boston College Tapes, also known as the Belfast Project, were recordings of former IRA members discussing their involvement in the Troubles. The result is a compelling drama that features representation of the Troubles that we have never seen before; a powerful rumination on the reckoning of conflict trauma. Lola Petticrew and Hazel Doupe are extraordinary as the radicalised teen girls at the centre, as is Anthony Boyle (one of the breakout stars of Apple’s Masters of The Air) and Rory Kinnear continues to be one of the finest additions you can get to a show (if you’ve not seen The Diplomat, rectify that immediately!!!). This isn’t just a much-needed history lesson, this a revealing and exposing examination of an under-assessed part of recent history.

[5/5 stars]

(YAY! I’ve written something! My first something in MONTHS! If you made it this far, liked what you read and would like me to do more, please message me and let me know!)

Furiosa: A Mad Max Saga

‘There will always be war.’

There are already many 5 star reviews of this film. There will undoubtedly be many more. This will not be one of them. In fact, this review will reflect on the fact that maybe the film was in fact slightly disappointing or may have been a victim of incredibly high expectations. Mad Max: Fury Road is a wonder, a high-octane adrenaline rush and a near pitch-perfect action film (as written 9 years ago on this very blog). This is a very different kettle of fish.

Whilst Fury Road is told over three days, its prequel covers 15 years – the story of how Furiosa was pulled out of paradise and ended up working for the tyrannical Immortan Joe. Already we have one big old problem, a symptom of prequel-itius. If you’ve seen Fury Road already, you know that Furoisa will survive whatever comes her way here. Although Fury Road thrived on giving little details about its characters, we do know enough key points that we expect to make an appearance here. Already that dulls the stakes that made Fury Road such a powerhouse.

That’s compounded by the storytelling approach. Using a five-act structure, this is an epic origin saga of her character made up of key moments within those 15 years. These are hugely impressive set pieces, with lots of driving back and forth in-between. The result is a different kind of tension, a prolonged buzz rather than the punch to the face we got with Fury Road. It also gets a tad repetitive in this regard, especially her run-ins with Chris Hemsworth‘s Dr. Dementus. Hemsworth is clearly having a whale of the time in a role, exercising both is comedy and dramatic chops but these exchanges get increasingly farcical they almost resemble a Wile E. Coyote vs the Road Runner sketch. It’s not helped that these feel stretched out over the film’s overlong 148 minute runtime, which feels baggy in comparison to the taut 2 hours of Fury Road.

When the film works, though, it really does soar. The world continues to be as immersive as we have come to expect from writer-director George Miller. It’s impeccably created, shot and edited – feeling all too plausible in a multitude of ways. The characters who reside within it continue to be unique and grotesque – their stories told through such minute and precise details, from costume to mannerisms. Anya Taylor-Joy epitomises this, successfully taking on the role from Charlize Theron. With little dialogue, so much of her performance is reliant on expression – particularly with her eyes – and she provides a stellar performance. Her scenes with Tom Burke are some of the film’s standouts, their quietly building interplay a joy to watch – as is seeing Burke finally get the chance at the big screen that he has long deserved. Their sequences also highlight the fact the tonal shift between this film and its predecessor, the character study is the forefront that drives the action.

Whilst often exhilarating and with some impeccable action sequences, the whole affair feels a tad bloated and – at times – a little dull. Less furious onslaught and rather mild fury with a side of pontification.

[3.5/5 stars]

Furiosa: A Mad Max Saga is in UK cinemas from Friday 24th May.

The Passing Strange (Theatre review)

‘Pain! Ego! Art!

The Young Vic continues to knock it out the park with another fresh & electric production. First performed on Broadway in 2008, acquiring 7 Tony nominations in the process, this is its UK premiere and it’s a definite must-see. We are greeted by Narrator (an electric Giles Terera – Hamilton, Blues For An Alabama Sky) who is accompanied by the Band and four backing actor-singers. He is here to narrate his musical journey as a lost youth swapping his middle-class L.A. upbringing for punk rock and protest in 1980s Amsterdam and Berlin.

What follows is 2 hours and 35 minutes (with a 20 minute interval) of an extraordinary musical show unlike pretty much anything else on the West End right now. It’s the self-referential narrative style of Hedwig & The Angry Inch meets rock, punk, soul & gospel. A love story and tribute to the power of music. Narrator is our guide through his past, always on stage, whilst Youth (Keenan Munn-Francis) plays his younger self. There’s recreations of key moments of his life, with Mother (Rachel Adedeji) and the various other figures who played influential roles, as Narrator commentates – at times wise with retrospection and remorse, at others proud & gleeful at what he achieved and how he became the person he is today.

Terera is made for the role. We immediately feel safe in his capable hands – trusting without restraint in our tour guide to his personal past. He drips with charisma, impossible to look away from as he watches his past – we’re desperate to know his thoughts and reactions. His voice is extraordinary, powerful and genre-blending. The pace of the show is also fascinating. To paraphrase Whiplash, it both rushes and drags – feeling like an accurate reflection both of life and recalling its key moments. Munn-Francis is delightful as his younger self, mannerisms echo between both actors as we gradually see how Youth becomes Narrator. The band blow the both doors and roof off, they are always on the stage (à la Hadestown) and get to partake in proceedings in various subtle and not-so subtle ways.

A joyously sprawling concert, with heart and jokes and soul, this show is a very welcome wonder.

[4/5 stars]

The Passing Strange is at the Young Vic until Saturday 6th July.

IF

‘One day, It’s going to make a hell of a story.’

A personal project for writer-director John Krasinski, nearly two decades in the making, IF (short for Imaginary Friends) is the story of Bea (Cailey Fleming). She’s in New York for the summer, as her father (Krasinski) receives medical treatment. It’s déjà vu for Bea, the same thing happened a few years ago when her mother died of cancer. Encouraged by her father to make the most of the summer, she finds herself able to see IFs who have long-since been forgotten by their human friends. And so she decides to work with Cal (Ryan Reynolds), Blossom (Phoebe Waller-Bridge) and Blue (Steve Carell) to run an adoption agency.

Ultimately, IF feels very admirable and sweet but also overloaded yet slight. Fleming is wonderful in the lead role, definitely a young actor to watch – considering the high levels of CG, she’s naturalistic and believable. With a lot of emotional heavy-lifting to do, she’s subtle and expressive – emoting hugely with her eyes, almost reminiscent of a younger Saoirse Ronan. The voicecast of the IFs is insane –

Ultimately, IF feels very admirable and sweet but also overloaded yet slight. Fleming is wonderful in the lead role, definitely a young actor to watch – considering the high levels of CG, she’s naturalistic and believable. With a lot of emotional heavy-lifting to do, she’s subtle and expressive – emoting hugely with her eyes, almost reminiscent of a younger Saoirse Ronan. The voicecast of the IFs is insane – Awkwafina, Emily Blunt, George Clooney, Maya Rudolph and Sam Rockwell are just a few of the list. It’s a joy to listen out for them and guess who’s-who.

The biggest problem the film faces is it’s story, or relative lack therefore of. There are no stakes and no urgency propelling things along, the IFs are at risk of disappearing if they don’t find a human friend. Sort of? Maybe? At undisclosed future time? It’s undefined, as is much of the film’s plot points and overall mythology. Lots of things are underdeveloped and unexplained, which become a huge barrier to emotionally investing into proceedings. Whilst there’s some sweet set pieces, they try and throw everything at it to make it stick, making the film little more than a sum of its parts.

Undercooked yet overbaked, it’s not fast-paced enough for kids nor witty enough for adults.

[3/5 stars]

IF is in UK cinemas now.

Charlotte Sometimes Goes Speed Dating (again, again)

‘Insanity is doing the same thing over and over and expecting different results.’ – Albert Einstein

It was as I was stood in a semi-circle surrounding a makeshift dance circle, while I watched 18 fellow singletons enthusiastically shaking their stuff in a dancing-on-one-leg dance-off to the soundtrack Europop classic ‘Pump It Up!’, that I really questioned my life choices. Whilst this wasn’t the first time I had done so that evening, it was the most out-of-body crisis variant so far. How had I ended up here? What had I really thought I was going to achieve this evening? And, most significantly, why has my life so far led to the the point that attending a Squid Game themed dating event felt like the best possible step to solving the problem that is my total absence of a love life?

The blurb for Squid Game Dating read, ‘Squid Game Dating is a brand new immersive experience. This event is for ages 21-45 age guide and will have an equal ratio of men and women. After booking your ticket you will be invited to attend Nordic bar in London for our in-person immersive Squid Game Dating event. Expect to meet around 30 people with equal numbers of men and women. When you arrive you will be issued with your player number. All players will be invited to get to know one another at the bar until the games begin. Are you ready? Games will include several from the TV show including Marbles & Honeycomb along with several unique games for this event. All the games are designed to get people working together and helps to break the ice which is perfect for a singles event. Are you ready to play? Don’t hesitate this event will be fully booked in advance. P.S – Don’t worry, no one will actually be murdered…’

By not just alluding to, but directly referring to the Netflix smash hit tv series from 2021, the presumption would be the event would share some sort of similarities with Squid Game. A semblance. A sliver. My friend Sarah and I had both bought our tickets ticket envisioning a big group event, with challenges from the show, split into four teams, getting to know people along the way. A massive misconception with the silver lining that maybe Sarah and I should do into dating event planning as that sounds like a banging night.

Instead with found ourselves doing speed dating in booths with puzzles. Which was essentially a repeat of what I’d tried and loathed a month prior, through a different company. It was only this morning that I realised not-Squid Game Dating was run by the company who provided this nightmare of an evening. And so last night instead proved that ‘third time’s a charm’ is actual a falsehood and, quite possibly, based on this track record, every dating event is awful and humanity is screwed. Who’s to say?

A last minute venue change resulted in us spending our Wednesday night in Loop, a basement bar just off of Oxford Street at, and I repeat, an event called Squid Game Dating. Which is why I was wearing a Green Tracksuit that potentially evidenced the following things about my character 1) I love a theme, 2) I’ve long since lost the want for subtlety, embrace joy and go out at all times and 3) I have a vast and eclectic wardrobe.

Unlike last time, I won’t talk you through date-by-date. I’ll instead tell you of the prevailing feeling of despair that prevailed for the majority of the evening. Whilst the ratio was more positive than previous events (18:15 instead of 390:10) being provided the opportunity to talk to 18 men counts for nothing when the majority of them are so fixated on the games that they don’t actually talk to you. Or look at you. And they ignore the questions you ask. Or choose to avoid feigning even the most fleeting interest in you or what you’re saying.

A list of lowlights in no particular order:

  • being mansplained anime whilst I was wearing a My Neighbour Totoro Uniqlo bag (which he hadn’t noticed, I pointed out, and he continued the monologue anyway)
  • watching the most conventionally attractive man of the night spend the entire ten minutes of our ‘date’ ignoring us, swearing away as he tried & failed to build a House of Cards
  • the second most conventionally attractive man of the night dismissing me & my job with his eyebrows
  • the man I’m pretty sure I’d met at last month’s event and who awkwardly pretended not to notice me
  • the man who – at the end of our round/date – left our booth with the manner of someone liberated from prison and clung to the woman he’d previously had a date with
  • the man who thought that repeating a ‘missing marbles’ joke as often as possible during a game of marbles would ensure that we finally found it funny (spoiler- we did not)
  • the man who asked I’d ever heard of a ‘little show called The Big Bang Theory’)
  • and the following conversation during which I finally killed my will to live:

[Talking about the past dating events I’ve attended]
Him: Did they ever work out well? Any successes?
Me: [smiling, clearly joking] Yes! I’m married now!
Him: [silent, visibly looks at my left hand for a wedding band]
Me: … that was a joke…
Him: [still silent}
Me. …sorry?

And so, two hours after we arrived, Sarah and I left as soon as we possibly could – having lost all hope for ever finding romantic love and having found PTSD for this song.

Charlotte Sometimes Goes Speed Dating (Again…)

Booking the ticket to the speed gaming dating event had been an impulse purchase a couple of weeks back, and one I was really starting to regret the night before it’s happening.

I was looking over the website again and had shifted from ambivalence over attending to a state of near-total dread. Apparently the event had sold out for women but there were still ‘plenty’ of tickets left for men. A prospect which brought back flashbacks to this event last year and solidified my ongoing suspicions that eligible single men in London were as likely to be spotted in the wild as The Loch Ness Monster. Although meeting the GREAT LOVE OF MY LIFE would the ideal outcome of a dating event, at the very least good company and a bit of a flirt would be possible? But how could that happen if, yet again, I would be attending another taco fest?

Magically, when I looked again at the website 24 hours later, on my way to the event, the men’s tickets were now sold out. Something which felt suspicious and weird. It was a puzzle that would be solved shortly after arriving at the private area of the board game café where the event was being held, when the host introduced me to one of the male attendees who accidentally disclosed that he’d been asked, the night before, to attend. Several others would later mention having experienced the same. Few things invoke as much joy and optimism as hearing that the other guests of an event only attended as they were asked to and offered a free ticket, whilst you spent £15 for that very same privilege .

Whisky Lemonade in hand, stood in the area that was so cramped we had to politely shuffle around each other, we all made politely awkward conversation. Two things were quickly apparent though and both presented their own possible problems. Firstly, I was a solid half a foot taller than most of the other guests (both male and female). Coming in at a mighty 6ft, this isn’t an uncommon situation for me. I am also aware I am not a roller-coaster and therefore do not come with a height limit for those wishing to partake in this ride. However, feeling as if I’d arrived to take the Hobbits to Isengard didn’t fill me with hope for romantic prospects or being regarded with any semblance of desirability. Secondly, instead of asking me to move, one of the men had wordlessly just grabbed me by the small of the back and moved me. This is a massive pet peeve of mine, why do men – strange men, in both meanings of the word – touch women there?!? It’s such an intimate spot. In fact, why touch us at all? Use your words! Suffice to say, I was desperately trying to cling onto my last shred of optimism and remain open to what the universe would provide.

Immediately this was tested further once we took our seats. There were six group tables, with board games in the centre – we were to be sat in groups of 4, spending ten minutes getting to know each other over a game. At time up, the men would then move onto the next table and meet the women sat there. The questionable result would be that, each round, it would be up to the women to explain the game to the men each time – arguably an unfortunate use of emotional labour. Every other table was comprised of two men and two women. Except my table, where I was the only woman. This meant I would be on my own each round whilst everyone else got a wingman/woman, it meant things would feel a bit more draining as I didn’t have anyone else to help pick up the slack of conversation – or help me out when things would get a bit much, as they inevitably did later on.

Date 1: Things started off well enough during the first round. Our assigned game was Wavelength, something we were all pretty unfamiliar with. Here’s the rules if you want them, I can imagine it’s quite fun playing with people you know as opposed to the edge of awkwardness of playing with strangers… All you need to know is that the game involves you picking a card which has a spectrum (e.g Terrible actor, incredible actor). You decide the topic for the range (e.g Tom Cruise) and secretly lock in where you’d place that topic on the spectrum, the rest of the group need to guess how your answer. It was all going reasonably well until the end, when one of the men decided to use it as an opportunity to explain The Godfather to me. When I snorted and asked if he’d seen Barbie, we quickly established he’d totally missed the point of that scene and taken it as something worthy of replicating rather than avoiding. This mansplaining aside, we’d all picked safe topics and a nice enough time was had all round.

Date 2: I’d not considered that the ability to pick own topics could be used for creepy reasons, but I’d quickly see the error of my naivety. Only two men on this round, a nice guy and a Geezer. Geezer is the one who had forcibly moved me earlier on, so my back was already up (literally and metaphorically). Geezer was clearly feeling out of place, a bit of an anomaly in this room full of polite nerds and, possessed with a seemingly total inability to read this fact, he made 3 increasingly fascinating (said dripping with layers of sarcasm and irony) topic choices for his go at the game.

  • 1. The spectrum was least beautiful to most beautiful. His chosen topic? ‘Charlotte’. Layering on the smarm, he’d put me at ‘most beautiful’. There are some people in the world who would be able to do this in a charming way. He was not one of them.
  • 2. The spectrum was least important to most important. He picked ‘how important good morning texts are in a relationship’. He was very proud to reveal he considered them very important and that was something he would love to provide me with.
  • 3. The spectrum was round to pointed. He picked ‘boobs’ as his topic. Obviously. Did he prefer round or pointed boobs? That was what this 30-something year old man wanted us to guess. I tried to deflect by asking if we were considering Madonna’s iconic pointy moment. He explained to me that no, that was in fact lingerie (No! Really?!?), and he was referring to breasts – gesturing towards my chest to illustrate his point. I nodded to confirm I was, in fact, aware of the concept of breasts. Saved by the end-of-round bell, he left the table proudly declaring – in case I was worried – he liked round breasts best. My relief was palpable.

Date 3: This was the best date by far, and not just because it was a total respite after the chauvinistic nightmare I had just endured. The two men had developed a sweet rapport and, for the first time so far, we were able to chat as well as play a game. They were nice company and both would definitely make someone out there very happy.

Date 4: After a halftime break, the next two guys arrived. One quieter than the other, who clearly viewed himself as charming – a general manager at a restaurant whose opening gambit was a proclamation that ‘Hackney is where it’s at and happening in London’. Another fascinating (*ahem*) specimen, he spent the entire round flirting with the women at other tables – watching one of them order another drink at the bar and stealing food off the plate of another. He did grant me one slither of attention though, when he queried as to whether my red hair was natural – gesturing to my lower half to clarify his meaning. He even did an eyebrow wiggle, just to really lock-in the creep of it all.

Dates 5 & 6: These two dates were very similar, both in terms of dynamics and the fact my social battery was starting to run out after the conversational heavy lifting I’d been having to do all evening. During these rounds we talked more about experiences of dating, both in person events and the apps. It made for some really interesting discussion, sharing of different bad experiences and getting to see the male perspective on certain things. Some of their answers about things they’ve been messaged and how they’ve been made to feel echoed the reflections in this article.

And so we reached the end of the evening, at which I made a swift exit. It was a school night after all. Since then, it’s been hard not to reflect on it all – the evening itself and dating in general. When did the dating trenches get so bad? With half of those between the ages of 25-40 being single, we are all so battle-weary and disillusioned – how do you keep going and believing that romantic love is out there?

Answers on a postcard please, because at this point I really do not know.

Stream On: The Resurrection (Vol 2)

5 things you need to watch. Now. Right now. After you’ve read this list, obviously. Here’s last week’s edition if you’re in need of more recommendations: #1.

The Newsreader (BBC iPlayer – 12 x 60 mins)

With season two having been uploaded in one go, it’s the perfect time to point everyone in the direction of this classy and criminally underseen drama about two journalists (Anna Torv and Sam Reid) in a newsroom in 1980s Australia.

Interview With A Vampire (BBC- 6 x 60 mins)

The BBC has had an impressive run of acquisitions this year, epitomised with the arrival of season one of this long-awaited adaptation of Anne Rice’s novels. (So long a wait that the US is already airing season two…). Jacob Anderson is Louis de Pointe du Lac, a vampire who has decided to tell the story of his long life to a journalist. Sam Reid (yep, him again!) is Lestat de Lioncourt, the great love/hate of his life.

Culprits (Disney+ – 8 x 6 mins)

The heist genre has to be one of the most universally enjoyed genres, right? Even when badly done, it still makes for an entertaining watch. Luckily this is one that is both entertaining and actually really good. After a heist, the crew have gone their separate ways, but now, they are being targeted by a killer one-by-one. Not only is it big budget looking, it’s got a cracking cast – Nathan Stewart-Jarrett, Gemma Arterton and Eddie Izzard are our frenemies reunited.

The Buccaneers (AppleTV+ – 8 x 50 mins)

An adaptation of Edith Wharton’s last novel, which was finished & published posthumously after her death, in the 1870s a bunch of rich American girls are trying to find a posh English husband during the London debutante season. Whilst not as good as Bridgeton, it will go some way to filling the void until season 3 (which still doesn’t have a release date, but expect it next rather than this year).

Dark Winds (SKY/NOW – 6 x 60 mins)

Credit for this recommendation has to go to my dad, who had it on his radar for months. Coincidentally arriving in UK around the same time as Killers of the Flower Moon, we’re finally – yet still slowly – seeing more Native American voices on the big & small screen. A crime drama thriller, we follows Leaphorn (Zahn McClarnon) and Chee (Kiowa Gordon), two Navajo police officers in the 1970s Southwest that are forced to challenge their own spiritual beliefs when they search for clues in a double murder case.

May December

‘My love, I think about you all the time.

The premise behind May December is one that feels so obvious and yet is rarely ever depicted, what happens after the headlines? When you’ve been exposed, your life laid bare in the media, your personal life and choices reduced to scandal other people consume over their breakfast – what comes next?

Loosely inspired by a true story, that of Mary Kay Letourneau, we meet Gracie (Julianne Moore) twenty years after she was imprisoned for her love affair to her now-husband Joe (Charles Melton). That’s how she views it. In actuality, she was then a married woman in her 30s and he was 13 years old. An actress, Elizabeth (Natalie Portman), has come to visit them as she’s going to play Gracie in an adaptation of her life and she wants to research them. Forced to revisit their past, uncomfortable and potentially catastrophic tensions form between the trio.

This is a Todd Haynes joint through-and-through. It’s scandalous, precise and oft-uncomfortable – with Samy Burch‘s script is packed full of biting one liners and social critique that the characters seem blithely unaware of.

Timely in its arrival – as we continue, on a societal level, to do some much needed scrutiny of relationship dynamics of our recent and not-so-recent past. Gracie is oblivious to her role, both then and now, as predator; adamant that she was the seduced and not the seducer, she refuses to accept any blame or acknowledge any harm she caused. This is reinforced by a small but impactful supporting turn by Cory Michael Smith, who plays her son from her first marriage, who is the exact same age of her husband in her second marriage. He is now an agent of chaos, traumatised by his mother’s actions, almost frozen-in-time in behaviour and lifestyle choices. A sequence in the film, in a restaurant where both of Gracie’s family collide it wincingly delicious to watch.

That’s also the perfect way to describe Moore’s incredible performance here. Her Gracie is, quite rightly, irredeemable and Moore fully embraces this. She’s self-obsessed, unable to care about others and unaccepting of any other narratives but her own. Her frenemy dynamic with Portman’s invading actress is such a joy to watch play out, both actress at their height of their respective powers. It’s like something out of a nature documentary, they eye each other warily, uncertain of the threat that awaits and ready to fight when the first blow lands.

Melton is an unexpected wonder as Joe. It’s a difficult role which he plays with careful aplomb. His Joe was forced to grow up far too long, manipulated by someone older – yet, decades on, still viewing it as love instead of abuse – he is incredibly lost. His interactions with his children, all three now-older than he was when he first met their mother, are as subtle as they are achingly profound.

May December is lightly told yet packed full of punch; intimately profound, bitterly funny and bitingly sad. An essential watch. [4.5/5 stars]

May December will be in UK cinemas on 17 November and Sky Cinema from 8 December 26.

All Of Us Strangers

‘It doesn’t take much to make you feel the way you felt back there again.’

When moving to a city as a young person, you semi-unknowingly sign some sort of social contract. A new start, a new chance to be you with the seemingly endless array choices and a smorgasbord of new people. For those who arrive from a smaller town and/or fall into any number of categories of other, this is an enticing opportunity. A chance to craft an image, a home and a life away from the meerkat-like gaze of smaller town living.

And yet, that anonymity comes at a cost. What if you don’t find your people? What if you do find your people, but they move away to have gardens and babies? What if you remain alone? The result can be feeling adrift, removed from your surroundings, as if you will disappear if any further moments pass if you remain unperceived and unknown.

Never has a film captured that profound feeling, the bittersweet blankness, as well as this film. All Of Us Stranger shows the deep, entrenching and evasive ache of loneliness that can arrive when living in a city – when it’s so pervasive it feels like it’s entered your bones and will never come out.

That’s what life is like for Adam (Andrew Scott), a screenwriter who barely leaves the flat in which he lives alone that belongs to a skyscraper with barely any residents. His parents (Claire Foy and Jamie Bell) died when he was young and his friends became his family – until they moved away when they started their own families. His life has shrunken to a cycle of writing and procrastinating and watching repeats of Top Of The Pops – although a fledging relationship with Harry (Paul Mescal) brings change to routine. Having decided to write about his parents death, he decides to visit his childhood home – only to be greeted by his parents who appear to be living exactly as they were on the day they died, 30 years ago.

I’ve not cried as much at a film as I did with this one. It’s such a tender and carefully told tale of loneliness, of love and loss and longing. Moving at a carefully considered pace, it peels back Adam’s layers in the same way he is opening up to Harry – allowing himself, and in turn us, to become vulnerable after years of stoicism. The dialogue is effortlessly profound, potent and moving – often through what is not said rather than what is. The performances from all four of the central cast are exquisite, but this really is Scott’s film. Rarely, if at all, off the screen his face is a wonder as it expresses such depth of meaning – every single micro expression is utilised with purpose. The aches within him reverb through him and off the screen, to the extent that the three songs it features will forever be synonymous with his performance. The joy of Alison Moyet’s ‘Is This Love?’, the yearning of Pet Shop Boy’s cover of ‘Always On My Mind’ and the recurring motif of Frankie Goes To Hollywood’s ‘Power of Love’. A Holy Trinity of 80s melancholy.

[5/5 stars]

All Of Us Strangers is in UK cinemas from January 26th 2024.