Rape Jokes, Female Comedians and Re-evaluating.

Since I've noticed that this long, circular conversation about rape jokes in stand-up comedy is still completing its long, circular journey, I thought I'd add in a few thoughts. I am not an expert, or an authority on the matter, but I do feel like I have some insight. So this blog post will cover why I feel like I can talk about the subject at all, as well as my conclusions on it. Also, I'll mention what it prompted me to do, which may be of interest if you have any thoughts with regards to female comedians.

I organise a comedy night in Wood Green, at the Big Green Bookshop. It's an unusual, intimate gig set in a slightly odd venue, and it does seem to be one that the comedians and audiences enjoy. It's not a large one - regular crowds are between 20-50 - but we get a nice, smart, left-wing audience.

I also perform the MC duties throughout the night, which involves me acting as the warm-up for each half of the show, as well as my main duties of introducing and linking between the acts, so I usually end up doing around 15 minutes of material throughout the night.

So, effectively, I'm coming from the point of view of a performer and a promoter, as well as a fan of comedy.

Rape jokes weren't something that I thought about until I saw a rather good comedian at the bookshop, who put on what i thought was a storming routine that went down well. Except the following day, one of my friends was particularly upset. And she wasn't the only one. Two people (at least) in that small audience had been raped or sexually assaulted. I don't know the details. I didn't ask.

Basically, he'd made one or two off-hand jokes about rape during his routine, and for them, it ruined it. They'd been sat there, in the dark, surrounded by people who were laughing at something that brought up violent, difficult memories.

Now, one thing that I see some fairly new comedians doing - and when I was first doing comedy back when I was 20, before I stopped doing it for a decade, something I did myself - is working against what likeability you actually have. Now, your mileage may vary with regards to my personal likeability, but I'm mainly talking about other comedians. Being likeable isn't something everyone has, and I'm always confused when someone works against that with unpleasant material.

Maybe it's a desire to be seen as an angry young comedian. Maybe it's too much influence from comedians that play off the anger side of things. Maybe it's from a slightly paradoxical desire to be taken seriously.

But now, I am an old, decrepit man of 32, and I have no desire to make life more difficult for myself. If I can get an audience to like me, it's going to be easier to make them laugh. As far as I'm concerned, it's in my interest to take advantage of any innate likeability I have.

But doing material that could cause genuine upset, in a manner that I would have difficulty understanding? I find that hard to justify.

Now, that's not to say it's completely unjustifiable. All subjects can be talked about, and all subjects can be joked about. But I think that if you're going to tell a joke about something potentially very hurtful, be it race, religion, sexism, homophobia, or sexual assault, you should be aware of the potential consequences.

Essentially, I think my conclusion on the whole situation is that you can tell rape jokes, but they'd better be bloody good jokes, otherwise you're potentially upsetting audience members, and also turning them off you, for a joke that more than likely isn't worth that.

Obvious responses have been 'they're only jokes' and 'the majority of people like them'. True. But the majority of people haven't been raped. Sometimes, it's the minority you've got to look out for.

Jokes may not be intentionally malicious. I'm reminded of this clip from TVAM in 1984. Faith Brown may not have been intending to be malicious, but it's incredibly uncomfortable viewing. I suspect that some of the people who are arguing that rape jokes are fine are going to be looking back in twenty years in a similar way.

I'm not saying it's totally off-limits, and I'm not saying there haven't been good jokes told that involve rape. Sarah Silverman has at least one amazing joke about it in her catalogue, and on the London Circuit, I've seen Harriet Kelmsley and Nick Sun both do great routines involving it as a subject. But there was usually a different point being made (Silverman's is about Jewish stereotypes, Kelmsley's is about attitudes towards rape, and Sun's is deeply involved with his dark, screwed up comedic character).

Perhaps the point is just that it's a subject that needs to be carefully considered, and not just used casually or lazily.

Partially in response to it as a topic, I thought it would be nice to have an all-female comedians night at the bookshop. I thought it'd be nice to do something a little different, and run a night with a different ethos. It didn't start off as intentional - the first three comedians I booked were women, and I thought I may as well run with it. We did an all-female night last year, the month after we'd unintentionally had an entirely male lineup.

This time, I didn't want it to be a gimmick. When we promoted it online, we didn't mention that it was an entirely female night. When I MC'd, I didn't point out that all the acts were female. I just ran it as a regular night. And it was absolutely a regular night - in fact, it was a fantastic night. One of my favourites we've done.

At the end of the night, I was talking to audience members, and a few people said they hadn't even thought about it. Which I think is great. I don't know how noticeable an all-male comedy night would be. I suspect a lot of the time, it would go unremarked upon, but all-female line-ups tend to be flagged up as such.

This ties back in. I think a lot of the ways in which society is still more male-orientated are in ways that a lot of people don't see. Or at the very least, they are so in ways that I tend not to see. I feel like I'd notice an all-female lineup more than an all-male lineup (although the comedians that were booked that night were SO good that I think it'd have taken me a while to notice if I were an audience member) And in the same way, it can be easy to talk about rape, and not think about the victims, which while not exclusively female, are more likely to be female. The recent talk about rape jokes, and the reactions I've seen from some people, has caused me to think about how important it is to think about things from other points of views than your own, and use it to re-evaluate.

When it comes to equality, and when it comes to thinking about the possibility of offence being caused, I think it's important to sometimes do that. To think about what the consequences are, and weigh it up with what you're setting out to do. If it's worth it, absolutely do it. If it isn't, maybe just think about it again.

The Olympics: or Why I Was Wrong

I was probably as cynical as anyone in the run-up to the Olympics. I thought it was going to be a disaster, and on some levels kind of almost hoped that it was.

But the last few weeks have been entertaining, inspiring and generally pretty amazing. As well as being happy that London 2012 has gone well, I've actually realised what makes the Olympics such a fantastic and important thing.

For those of you who already know, you don't need me to explain it to you. But it's not true that for those who don't, no explanation will be enough. Because I didn't know. I didn't get it. But I do now.

Every day, and pretty much on an hourly basis, people who had travelled around the world achieved their life's ambitions.

Somehow, I didn't quite get that before. I somewhat wrote it off as "just sport". Possibly because I'm about the least sporty person I know. Possibly because, at school, sport represented something I was never going to be good at, and never going to be accepted at.  Possibly because it was something I always associated with negativity. But whatever it was, I was wrong.

The opening ceremony helped. It was such an astonishing spectacle of positivity and multiculturalism (which helpfully annoyed all the right people). It was something people talked about and were generally rather wonderfully enthusiastic about. It was something which a lot of people had been dreading, but went beautifully.

Team GB have performed really well, and other than some tabloid whining when they weren't winning golds, it hasn't felt particularly jingoistic in the same way that it's felt like it did when football was on.

I was a British teenager living in Ireland when some of the English fans (who were linked with neo-Nazi group Combat 18) tore up sections of an Irish football stadium during a friendly match. It made me feel physically ill when it happened. That happened a year before Euro '96, and it meant that I saw a nasty edge to the Jingoism that took hold, culminating with headlines like "For You, Fritz, Ze European Cup Is Over".

That was difficult to let go of. It was difficult not to feel as my first reaction any time England or Britain were mentioned in conjunction with sports. It was difficult not to associate it with a sickening and undeserved sense of self-entitlement and xenophobia.

However, the Olympics, and Team GB's achievements, haven't reflected that. Instead, they've reflected a rather beautiful example of how much Britain has changed, and how much it has changed for the better. A multicultural, slightly bonkers, weird, wonderful and humourous country. I mean, the most popular man in the country right now is called Mohamed. That's just brilliant.

But it wasn't just Team GB. Watching athletes reacting to losing or winning was continually fascinating. Seeing people cry due to a combination of exhaustion and pride while listening to their national anthem being played was truly inspirational.

Wrongly, I tended to not think about sporting achievements in the same way as I thought about artistic or scientific achievement.

But we saw records being set. We saw people continually achieving at the very pinnacle of human physical ability. Work, dedication and passion. People showing what we can achieve when we put our minds and bodies to it.

That's what the Olympics are all about. The mental, brilliant opening ceremony was about that too. And the fact that we landed Curiosity on Mars seemed appropriate.

Because we're human beings, and we continue to achieve amazing, wonderful, beautiful things. Creatively, scientifically and physically. The Olympics are a showcase for part of that. And we do it because we can.

If I wished one thing about the Olympics, it's that they'd been better for local businesses. Because that was promised, and it doesn't feel like it happened. That's not quibbling either. But now's not the time for it. That's tomorrow's discusssion.

For now, well done to everyone involved with London 2012. The organisers, the athletes, the volunteers, and the utterly wonderful BBC for presenting it so well.

The Secretary - Short Story

The most important thing you need to know about me is that “secretary” is just a job title. I have levels of clearance within this government that are higher than most people know exist. When the Prime Minister wants information regarding the department I work in, he calls me directly and it is down to my discretion whether or not I tell him.

My predecessor committed suicide before she turned fifty. So did her predecessor. I didn’t ask any further back than that. This job has unique benefits but also unique pressures. This is why I am retiring at a young age. I do not intend to kill myself. So I am training my replacement and then I am walking away.

I was psychologically evaluated by the age of fifteen. I had seduced my headmaster to improve my grades, and was implicated in his divorce. Due to my age, it should have been something which he was seen as being more responsible for, but for the fact that I was caught sleeping with his temporary replacement two months later in an attempt to improve my chemistry grade. Add in a little matter of compulsive theft, and my mother became concerned and sought professional help.

I maintain that she felt threatened by me. By the time I was a teenager, I had a way with men that she had never been able to compete with. Perhaps if she had been more concerned about the way my stepfather had attempted to assert his dominance over me, it may have been more useful.

It was actually a relief when I was diagnosed as sociopathic. It made sense to me. I was also described as being intensely manipulative, which I didn’t particularly see as a bad thing.

I got into trouble again when I was in my late teens. My ambition was not high, and my social opportunities weren’t many. I’d become involved with gangs, and ended up playing two East London gangs against each other. I had a rival, who had tried to spread rumours about me, and they almost got me killed. I was more efficient in my response.

I was told my mother wanted to see me. I didn’t care. I was old enough now to be sentenced as an adult, and had my own problems to deal with.

It was around then that she came to see me. The most amazing woman I ever met. Katherine Pettaval.

“We’ve been watching you for some time,” she said.

“How?” I asked.

“We work closely with psychologists who deal with children and teenagers.”

“Why?”

“So they can alert us to promising recruits.”

I looked her up and down. She looked strict and harsh at first, but when she smiled at me, I felt accepted for the first time. I felt an aching for her in every part of my body and my soul.

“Promising in what way?”

“I’ll teach you to be like me.” Katherine said.

I wanted that more than anything I’d ever wanted in my life.

“What do I have to do?” I asked.

“You sign your life to us, and we’ll compensate you. You’ll be educated, trained and given every benefit the British Government can. Then you do what we tell you to do. Primarily, you’ll be taking care… very particular care… to one of our biggest assets.”

I expressed misgivings about working for “the establishment” like that. Well, I was young.

She laughed. “The establishment is very different when you’re on this side of it. Believe me. I’m offering you the Golden Ticket.”

I accepted.

The training took years, but I came out of it as someone who could walk into any meeting room in the Civil Service and take control of it. I came out of it as someone who could convince someone to do what I wanted them to, and also have them utterly convinced that it was their idea in the first place.

I raced up the ladder, and excelled at every part of my role.

Eventually, I was called in by Katherine, as I had been judged ready to learn about their secrets. Only Katherine and the head of the Service, who everyone called “Mother” were there.

I was handed a file. It was thick. “This,” Mother said, “is our secret weapon.”

“We find suitable agents,” Katherine said. “We then manipulate them to see the world in a certain way.”

“In our way.” Mother said.

“In our way, yes.” Katherine agreed. “It means that their life completely revolves around the job that we send them on. Everything they think, everything they want… their reaction to everything around them has been planned to the smallest detail.”

“You mean you brainwash them, ma’am?” I asked. It was impertinent, but I knew when to cut through the bullshit.

Mother looked at Katherine for a moment. A brief glance that most would miss. But, as I said, I was trained very well. “Yes,” Katherine said. “That’s exactly what we do.”

I opened the file, to see pictures of a man. He was tall, muscular and slim, and most would think of him as being attractive. I hated him at first glance. I didn’t know why. That was just the first though. There were others too.

“There is a down side to this kind of programming, though,” Katherine said.

“They don’t live long,” Mother said. “They’re put into very, very high risk situations. We trust them implicitly to use their own judgement, as they’ll use the judgement we train them to.”

“How do you find suitable candidates?” I asked.

“The same way we found you,” she said. “Psychological profiling. Both of these roles require very… specific criteria.”

Katherine elaborated. “Part of the way we do this is to have very specifically designated relationships. Mother becomes the most important thing in the subject’s life, and pleasing Mother is always the one thing they strive to do.”

“So where do we come into it?”

She smiled, and while I still felt it deep inside, I’d been taught to contain it now. “We’re the life they can never have.”

“Is that important?”

“It’s vital. They’ve got to have the dream that this is just temporary, and that they can some day give this up. You’ve got to be the one they’re in love with.”

I tilted my head to the side. “How much of a relationship are we talking about here?”

“Oh, don’t worry. You won’t actually have to do anything.” She laughed. “They’re designed to see women purely as something to rescue, kill or fuck. They’re users by design.”

“And we’re different?”

“Oh yes. You’re the one he never gets to fuck. You’re the one he never gets to have. You’re the one who always promises more. You’re the relationship he desperately wants, but never gets.”

“And that works?” I asked.

“It’s worked beautifully so far. We’ve given them the appropriate memories, so their upbringing, their defining experiences….they’re all planted.”

I continued looking through the file. “All the rest got killed on duty. How come this one,” I asked, pointing, “committed suicide off-duty? Did something go wrong?”

“He fell in love with someone.” Mother said. “We cut ties after she died.”

“He begged to come back,” Katherine said. “But the programming had been broken. We actually incorporated the dead wife into their back-story. It worked, as it gave them something extra to obsess over. It actually made them better agents.”

I laughed. It wasn’t intended as spiteful. It just seemed so absurd.

I wasn’t able to be part of the meetings with him. I had to content myself with watching camera footage in another room of meetings, in order to learn about him. The room itself had to be perfectly maintained. The placement of everything, the smells, the visuals…it all had to feed into the programming. Complement it.

I hated him. Immediately, I hated him. The way he carried himself, the way he spoke. I couldn’t define it, but I hated him.

I told Katherine about it when she came to see me afterwards.

“I hate him too,” she said. “It isn’t important. Don’t think of him as a person. He’s a weapon. That’s all. Think of him as machinery.”

I watched those meetings until he died a few years later, shot through the head while on assignment.

Mother told me, also letting me know that the next one would be ready for assignments in two years time, and that he would be mine, not Katherine’s.  I was given a codename.

The next time I met Katherine, she was distraught.

“I miss him.” She said. “I wasn’t expecting to. I hated him so much, but so much of my life was spent being his life. I was the closest thing to a relationship that he ever had, and he was the closest thing that I ever had.”

“I’m sorry,” I said.

She killed herself a year later. I had somewhat expected it.

My assignments went mostly well. I actually oversaw a few of them over the years. Bringing them in, being the woman they wanted to spend their life with, smiling at them and flirting at them, and loving them with my eyes and sending them to die.

It takes a toll. Of course it does. So I finally got to select and train my replacement.

I sit back in the same room I did when I watched Katherine. I feel pride watching her.

I see her preparing. Practicing the surprised turn from the filing cabinet. A gasp with a perfectly rounded mouth, followed by the warmest smile you’ve ever seen since mine. Tits and teeth, darling.

The door opens, and he walks in. I watch the monitor carefully. This one doesn’t walk. He prowls, like an alpha male lion, all muscular brutality and lethal intent wrapped in a designer suit.

She hits it perfectly. The turn, the smile and the warmth. I see him fall in love with her.

“Hello James. M will be ready for you in just a minute.”

50 Shades of Grey - Routine

This is a routine I performed recently at Working Title Comedy at the Big Green Bookshop in Wood Green, North London. It went down rather well, so I thought I'd put it up here for anyone that would be interested.

Bookshops are now becoming known as "Purveyors of FILTH". All because of 50 Shades of Grey. Which everyone's reading. And I mean everyone. There's something slightly odd about a woman in a full burqa reading pornography on the tube.

Even my Mum's reading it. This is my Mum, who writes period Irish romantic fiction, and whose had a few novels published. After her first one, I read it, doing the sonly duty, told her how much I enjoyed it, and then I engaged wind-up mode, and I referenced the (mild) sex scenes she'd written, and I said "Well, obviously, the characters and plot are really good, but I have to ask, what's all this about heaving bosoms and straining erections?

And she says to me “Christopher…watch your language!”

Well, she’s tried to read it, but she ended up giving up. Not because of the sex, but because it’s really badly written. And I mean really badly written. Here’s an example.

"Oh my... He wants me. Christian Grey, Greek God, wants me, and I want him, here....now. In the elevator."

Now, I’m not saying that everyone should be reading Anais Nin, but this is just not good writing. It’s a bit like… wait, there’s more.

"Why won't he kiss me again? I pout at the thought. I don't understand. Honestly, his surname should be Cryptic, not Grey."

That’s not even real human dialogue. That’s fucking Dougal from Father Ted.

“Why won’t he kiss me again, Ted? I don’t understand. Honestly, his surname should be Cryptic, not Grey!”

Look, I’m not one of these people that thinks you should only read erotic poetry. This isn’t for erotic self-exploration in the bath with candles going on, this is for doing the kit-kat shuffle quickly before you go to bed, I get it. But it’s just….it’s….

There’s a girl at work who described it as “It’s really powerfully erotic. She’s created the perfect man.”

What are his perfect qualities? Well….he’s a billionaire and…no, that’s basically it. All his other qualities are loathsome.

Wait, we have more writing from this fucking book.

"This is the only sort of relationship I'm interested in."

"Why?"

He shrugs.

"It's the way I am."

"How did you become this way?"

"Why is anyone the way they are? That's kind of hard to answer. Why do some people like cheese and other people hate it? Do you like cheese? Mrs. Jones - my housekeeper - has left this for supper." He takes some large, white plates from a cupboard and places one in front of me.

In the name of holy Garth Marenghi, what the actual fuck?

There’s this weird thing going throughout where he keeps buying her food. It’s really weird. But she’s fine with it, because it’s always exactly what she wants.

And it’s appealing to people because you’ve got this idea of someone who always knows exactly what you want, even if you don’t know it’s what you want. He goes “I have ordered you food”, and she goes “Oh God, this is my favourite food!” Every. Fucking. Time.

That doesn’t work in real life. Here’s how it goes in real life with my girlfiend.

“Hello, sit. I have ordered you food.”

“Oh. What did you order?”

“Omelette and tea. And some cheese.”

“I hate omelettes.”

“Oh.”

“Why would you do that?”

“I thought it would be sexy.”

“What?”

I thought it would be sexy to… order you omelette.”

"You thought it would be sexy to order me omelette?"

"And cheese. Baby."

I’ve not even got to the sex, by the way. The sex is crap as well, not least because…okay, I can get the cold aloof thing that’s going on. He only refers to her by her full first name or Miss Steele. That’s fine. But the SECOND they start fucking? “Oh baby, yeah baby, I’m going to fuck you now, baby.” Turning into Patrick Swayze in Dirty Dancing all of a second, while he JACKHAMMERS HIS WAY THROUGH THAT HYMEN.

There are presumably some women in the audience, and I don’t know if any of you have ever been a virgin, but if you were, would you recommend that you treat the girl slowly and tenderly, since it may really fucking hurt, or do you recommend punching your way through that shit like it’s a plank of wood at a karate exhibition?

Oh, and when she wakes up the next morning, she’s all “There was a mild throbbing, but it was pleasurable remembering”, and not doing what she should be doing which is going “FUCKING OUCH! SOMEONE GET ME SOME GERMALINE. I’VE MADE A TERRIBLE MISTAKE.”

Someone on facebook suggested that maybe I’m just not comfortable with sex that’s not totally vanilla. That maybe I’m scared of experimenting.  Because the book has some fisting and anal. Oh *please*.

I’m a 32 year old man with access to the internet. My sexual tastes have grown so cynical, jaded and downright bizarre that I can’t even masturbate to regular porn anymore. It has to involve a Nun, at least three Brazilian transsexuals, a gas mask and a Shetland pony.

There’s also the fact that this whole idea just doesn’t work in Britain. First of all, if you want to fantasise about a famous businessman, you’re basically on at best, Richard Branson, and at worst, Alan Sugar… “he ground on top of me like a sexy shaved gnome”.

One final thing you may have heard is that the main character in 50 Shades of Grey keeps saying the same stuff. “Oh my. Oh wow.” Stuff like that, but the weirdest one is “Holy hell. Holy crap. Holy God.” She says “Holy something” 157 times in this fucking book.

Now, here’s where I destroy it for you. Every time you read her say “Holy” something, just think of Burt Ward playing Robin in the 1960s Batman with Adam West. Because there are parallels. Anastasia is younger, Christian is a billionaire…he’s training her. They put on costumes and fight crime…oh, like anyone’s read the third book. But maybe that’s what she should have written. 50 Shades of Batman.

And depressingly, if she had written that, this blog post would be saying  “You know, it’s actually pretty good".

50 Shades of Sugar - Chapter One

It's a quarter to two when I arrive at the Amsprop centre, a huge five story office building,  all grey and brick. I am greatly relieved I'm not late as I walk into the glass, steel lobby, past the fleet of taxis outside.

Behind the bland desk, a strict looking woman stares at me, looking unimpressed. She is dressed immaculately and raises an eyebrow at me.

"I'm here to see - "

"Yes, I know." she says, cutting me off. "I suppose you think you're dressed appropriately?" She lowers her eyebrow before raising it again and tutting.

I am beginning to wish I had dressed more appropriately. I have made an effort, though.

"I thought so, yes", I reply.

"Hmm." she snips.

She hands me a security pass. I can't help my smirk. Surely it's obvious I'm just visiting. I don't fit in here at all.

She picks up the phone. "It's Karen, My Lord. She's here." She then nods primly as if there were a camera watching her.

"You'll want the last elevator on the right. Press for the fourth floor."

The elevator whisks me with terminal velocity to the fourth floor. The doors slide open, and I'm in a tiny lobby with two sofas and pictures of cityscapes. There is a white haired man standing there to greet me.

"Hello, I'm Ana", I say.

"Ugh," he says, rolling his eyes dramatically.

"I'm here to see - "

"Yes," he says, shaking his head in a disappointed manner. "He's through there."

I push open the door and stumble through, tripping over my own feet, and falling head first into the office.

Double crap - me and my two left feet. I am on my hands and knees in the office doorway and rough hands are around me helping me to stand. I glance up. Holy cow - he's so short.

"Miss Kavanagh," he extends a stubby-fingered hand to me once I'm upright. "I'm Alan Sugar. Are you all right? Coming in here, falling over. Why don't you sit down. It's why chairs were invented." He gives a little smile and looks around awkwardly, as if he's just made a joke.

He's attractive, very attractive. He's short, dressed in a suit, with grey hair and strange, gnarled features. He looks like a sexy shaved gnome. It takes me a moment to find my voice.

"Um...." In a daze, I place my hand in his and we shake. As our fingers touch, I feel an odd exhilerating shiver run through me.  "Miss Kavanagh is indisposed, so she sent me. I hope you don't mind, Lord Sugar."

"And you are?"  His voice is gravelly, and he emphasises words in an odd manner, but it's difficult to tell from his eyebrows, which are bunched together like a seductive scrotum.

"Anastasia Steele. I'm studying with Kate, um...Katherine...um...Miss Kavanagh at Royal Holloway."

"I see," he says simply. I think I see the ghost of a smile in his expression, but it could be acid reflux.

I look at the room while I get ready for the interview. It is one enormous table, set up in front of huge frosted sliding doors for no reason. I set up the mini-disc recorder, and inexplicably slice off one of my fingers. I hope he doesn't notice the blood spurting out of the bloody stump. Damn my clumsiness. I'd blush, except for the blood-loss.

"Sorry," I stutter. "I'm not used to this."

"It's a shame. I had plans for that finger."

He's teasing me? I hope. I blink at him, unsure what to say, and I think he takes pity on me. "No, I don't mind."

He takes a seat. It's a large throne with a booster seat. He hops up onto it in a lithe, athletic manner that belies his aged appearance.

He sits there like a hotter version of Yoda. I cannot help but feel a little shaky just looking at him.

"So, to what do you owe your success?"

"Well, I grew up in a rough area, a part of London where you didn't have your fancy mini-discs, or lifts, or cars, or... or paths."

"I see."

He juts his neck out to emphasise when he talks, like an erotic turtle. "And you know, I've just been around for long enough. You buy, you sell. It's simple."

“You sound like a control freak.” The words are out of my mouth before I can stop them.

“Oh, I exercise control in all things, Miss Steele,” he says. “Like when I owned Tottenham Hotspurs. I flogged my way through seven managers, but they would have had it easier if they’d believed that Les Ferdinand would play better with nipple clamps.”

“Do you feel that you have immense power?”

“I employ dozens of people, Miss Steele. That gives me a certain amount of responsibility. Besides, immense power is acquired by assuring yourself in your secret, masturbatory, reveries that you were born to control things.”

I cannot help but think about that image. It’s like a sexy walnut lying on a bed playing with itself.

“I’m sorry, but I really should go,” I say. “I have a long drive back to Enfield.”

“No,” he says gesturing towards a bed that I noticed in the corner. “I think you’ll stay. We have some very good benefits here, and – “ he says, beginning to unbutton his shirt, revealing the wrinkled, leathery skin underneath “ – I can be a very….generous and attentive teacher.”

I can’t help myself. His sexy stony  eyes look into my soul and locate my inner goddess.

“You mean….”

“Yes,” he says, licking his lips like a lecherous lizard. “You’re fucked.”

League of Extraordinary Gentlemen Century: 2009 - Review and background

People who have been around me in conversation know that there is one unavoidable truth.

At some point in the conversation, I will talk about Alan Moore. More than likely, I will do so at length. Boring, interminable, overly-detailed length.  So it was really only a matter of time before I did so in a blog post. I'm actually surprised it took this long. But then, today, I read the conclusion to League of Extraordinary Gentlemen: Century. So there's quite a bit to talk about.

Feel free to skip to the review if you wish. But the background to this book, and the controversy around it, is interesting in itself.

Background:

The timing couldn't actually be better for this to come out, since Moore is currently in the middle of a lot of conversation amongst comic book fans, with the launch of DC Comics' Before Watchmen. This is a prequel series to Watchmen, Moore's best known work.

It's also a project that Moore doesn't want to happen, for reasons that I will attempt to briefly summarise.

When Watchmen came out, it was seen as something of a progressive move for creators' rights in comics. Since the majority of major comic characters and stories were created under "work for hire", the properties were owned by the companies rather than the creators. This led to a lot of bad feeling when one of the creators of Superman had serious financial difficulties, having never really had a fair share of the amount of money made from the property. By the eighties, there were attempts to fix this situation and make it more fair.

As such, it was agreed that Watchmen would be more creator-friendly, and that Moore and Dave Gibbons (the artist) would gain the rights to the series when it went out of print.

Watchmen was enough of a hit that it has never been out of print. So the rights have never reverted to Moore and Gibbons. Moore feels strongly that, while this was legal, it went against the spirit of the agreement. It wasn't helped when DC classed some of the merchandise for Watchmen as 'promotional material', meaning that Moore and Gibbons didn't receive money for it.

This, along with the varying quality of movies based on Moore's work, has led to a lot of bad feelings and Moore now refuses to work with DC at all.

He's also been very critical of DC's decision to launch Before Watchmen, which obviously does not have his blessing or cooperation.

Some fans feel that Moore is being irrational or petty. Others feel that DC are being disrespectful. But the main arguments are usually over Moore's comments about DC's lack of originality. Because a lot of Moore's work involves other people's characters, some perceive this as hypocritical. Especially since some of his stories tend to be rather sexually explicit, which has got some people's backs up with regards to classic characters aimed at children (specifically in Lost Girls, but also some of the later instalments of the League stories).

Personally, I feel there's a difference between what Moore is doing (a fictional world inhabited by literary characters, using them to tell a story that is separate to their own narratives) and what DC are doing (an official prequel to Watchmen, presented as part of the same narrative). The League is not presented as a sequel to Dracula, or indeed as an official part of the Harry Potter universe.

I like DC a lot, and have massively enjoyed their recent relaunch of their main titles, but I have no interest in Before Watchmen. Not because I find the idea offensive or disrespectful (I'm with Rick Blaine, in that I have sympathy with the fox while understanding the point of view of the hound), but just that I feel the Watchmen story was told completely enough that it doesn't feel like there's anything new to say about any of that universe that interests me.

But Century: 2009 interests me a lot.

I loved the first two volumes of League of Extraordinary Gentlemen. Silly, dark and strange, it's a beautifully effective story. The follow-up, Black Dossier, was something of a mixed bag, which makes a lot more sense when you bear in mind that it was intended to be a primarily prose-based scrapbook of sorts, and the comic book elements were added in later as a framing device.

Century, which is published in three parts, tells the continuing story of the characters over a hundred years. It's been the least interesting part of the series for me, as it felt rather inconsistent. So that brings us up to today.

League of Extraordinary Gentlemen - Century: 2009 review

As much as Century: 2009 is the last part of the Century trilogy, it's actually the final part of the story that began with Black Dossier,  which is absolutely necessary reading for this one in order to understand the Blazing World elements of the story. To a certain extent, this means that Century and Black Dossier effectively comprise the third full volume of League of Extraordinary Gentlemen.

For the first time, this feels complete in a way that none of the other parts had so far. I'd been worried about a law of diminishing returns, but what Century: 2009 actually does is to provide context for a lot of what had gone before. As a result, not only is this a strong story in its own right, but it actually makes the previous instalments much more satisfactory in and of themselves.

What felt like dangling plot points at times, or needless tangents, are often explained and completed here in a smooth way. It also provides an overall point to the story that was missing before, which in turn ramps up the satirical elements of the story in completely unexpected ways. Also brave ones, with Harry Potter being a particular target for a kicking - although to be fair, this appears to be more about the growing influence of franchises than Rowling's work specifically.

It's not a perfect piece of work, and it's still not up to the levels of the first two volumes of the League. It gets a little bit uneven with the pacing occasionally, and on a first read-through it feels like Moore started writing it without a specific ending in mind, but this may require some further re-reading. As a result, it feels like the resolution of the story probably would have happened in mostly the same way whether or not the main characters had done anything.

But it's audacious, it's big, bold and feels rather different to what's gone before. Some aspects (Michael Moorcock's time traveller, for example) may feel like handy narrative devices were it not for the fact that they actually feel mostly earned through the first two volumes. And all three of the main characters are handled fantastically, with where they all end up making complete sense.

At times, I was unsure about Moore's decision to continue using Mina and Allan from the first two volumes, but this final volume made me feel much, much more comfortable with that decision.

Kevin O'Neill's artwork is as great as it always has been on this series, and there are some beautiful artistic moments throughout (Prospero, who exists in a third dimension, breaking through the panels at one point is a particularly nice device). And his ability with caricature is astonishing. There aren't many artists that could so convincingly represent Michael Gambon at a single panel at a distance in such a way that you recognise him immediately. This means that the old League game of spotting references is as much fun as ever.

Overall, the work Moore has done on League since the original two volumes isn't as accessible as his earlier work, but it is hugely rewarding. It's funny, dark and sad all at the same time. It's also the most outrageous part yet.

Who would have thought that someone could tell a story entirely filled with other people's characters, and yet have it be such an original piece of work?

Prometheus - My Thoughts

Prometheus is the first film in a long time that I've actually been willing to see in 3D. Between the landscapes in Alien and Blade Runner, I could see the appeal in seeing Ridley Scott working in 3D. In fact, as disinclined as I am towards retro-fitting 3D into movies, I would be very up for a 3D Blade Runner, just for those cityscapes.

Scott has been very clear that he does not regard this as a prequel to Alien, and rather an extension of the same world. Whether this is the case or not, it's reflective of a rather muddled thinking that permeates the entire film.

As an example, Guy Pearce plays an elderly character, with heavy makeup in order to make him look realistically old. Unfortunately, this is difficult to convince with. I suspect that even if Guy Pearce was an unknown, it would come as a revelation to precisely nobody that he wasn't the age he was playing. It appears that the main reason to cast a much younger actor is for the viral promotion in which a young Pearce addresses an audience at a futuristic TED conference.

Now, that's not to say that Pearce isn't good in the role. He's as good as he always is, as is just about everyone in it. There's a whole load of really good actors working really hard. And the direction is good throughout. The music is great, and other than the opening disintegration, the special effects are lovely throughout.

A lot of it does work, but it has problems. The dialogue is clunky at times, with people volunteering information for no particular reason. One character's infertility is introduced awkwardly, as is another character's motivation. On top of that, the supposedly unfeeling android repeatedly displaying obvious emotions (and not in such a way that suggests that he is just designed to pretend) means that the question of his humanity is a rather strange one. And the big questions ("What does it mean to be human?" "Why are we here?") are not so much subtly asked as repeatedly asked out loud.

Also, there are plot points that happen in such a way that they appear to be purely to allow the plot points to happen.The rest of this paragraph will have some plot spoilers, but I'll try to keep them vague. A remarkably handy hologram effect turns up occasionally to advance the plot, even interacting with surroundings to the point of switching on a star map. A medical bay appears to be gender-specific for no reason other than to add tension (I can think of a reason it's there, involving the revelation of another character, but not why it's gender-specific in the first place). A character reveals a secret plan which appears to have been secret for...absolutely no reason.

It's a frustrating movie in a lot of ways, but that's not to say that it's bad. It isn't. It's quite good, and that actually makes it more frustrating. I watched "Double Headed Shark Attack" the other day, which was absolute dross, so I didn't care about the ludicrous plot.

This movie, I liked a lot of, and so the frustrating elements were more frustrating. It doesn't hang together like it should, and it doesn't get me to care about the characters as much as it should. But it does mostly work, and I did care about the characters to an extent. It made me care enough about the movie that the issues with it annoyed me more than they would with a lesser movie.

It isn't as good as Alien. Or Blade Runner. But it is interesting, and there are a lot of good people doing very good work.

Oh, and Fassbender is great, but you didn't need me to tell you that.